Rhythm Bones Player A Newsletter of the Rhythm Bones Society Volume 20, No. 1 2018

In This Issue: Johnny Muise Executive Director’s Column Erik Ilott. Some As we look out across the history of rhythm bones Breton out of the man. Documenting John’s Memories playing in the last century, we see certain individuals contribution to rhythm bones playing is a long who are steeped in their culture and whose rhythm time ambition for me, and I hope you enjoy Profile of Mary bones playing is infinitely connected to a specific reading about it as much as I enjoyed going Lee Sweet culture and it’s music. Sport Murphy of Abbeyfeale down that trail with his daughters Rose Marie Profile of Mitchell comes to mind for Irish music, Brother Bones in Christensen, and Janine Randall. Boss the big band and dance music of the 40’s, Richard It must be Spring, so the calendar says, but Thomas in the blues, and Cecil Hiatt in the country the two feet of snow on my lawn says other Ronnie McShane Tribute music of Oklahoma. Johnny Muise is one of those wise. The New England Folk Festival is but standard bearers representing the music of Cape a month away, and several RBS members are Bones Fest XXII Breton, Nova Scotia. John’s connection to the music joining me at the Rhythm Bones Playing Work- Update and place is cemented, and as they say, you can take shop which always turns into a mini Bones Fest Columns: the man out of Cape Breton but you can’t take Cape if you will. The festival (Continued on Page 3) Executive Director Johnny Muise Editorial When I learned to play rhythm bones over 40 is more there to be discovered. Letters to the years ago, I began a search for other bones players Johnny’s history is intertwined with the Editor around Boston. The two names I heard when I began culture and music of Cape Breton, Nova Scotia, Bones Calendar my search were, John Burrill aka Mr. Bones of which has produced a fiddle style unique and Boston (see Rhythm Bones Player Vol. 3, No.1) and strongly influenced by Scottish music. Johnny Muise. Cape Breton Island extends above the Initially I had a very hard time locating Johnny Northern tip of the Canadian province of Nova as no one seemed to know where he lived or how Scotia. Somewhat isolated and inhabited by not to get in touch with him. Quite by accident I took a only people of Scottish decent but people of record out of the local library, an Anthology of New Irish as well as French (Continued on Page 4) England Fiddling, and on track 14, I struck gold. It was a set of jigs by Boston Fiddler Joe Cormier and it featured Johnny Muise on ‘Clappers.’ His playing had a huge effect on me, but con- tacting him remained elusive. Finally I had a lead, that he lived in Roslindale, a section of Boston, and looking in the phone book I got a number. I had several long phone conversations with John and even got him out to the New England Folk Festival, but never got a chance to really hear and document his bone playing story. It has taken me a number of years to finally start putting what I know of John down on paper. This article is the result of my limited experience with Johnny and an extensive interview with his daughter Rose Marie Christensen, and an extensive interview and messages with his daughter Janine Randall. The roll of rhythm bones or ‘Clappers’ in Cape Breton music remains somewhat elusive. The fact that Johnny played so well and impacted so many of the musicians around him indicates to me that there Johnny Muise and his rhythm bones very first pair I made in 1979 – they are about the same length as his but chunk- Rhythm Bones Player Editorial ier. Rhythm Bones Society Bones Fest XXII is just around the Over the years I have slimmed down Volume 20, No 1 corner, and 37 people have already my rib bones and added to their length First Quarter 2018 registered. Sky and Jessye Bartlett have – although as anyone who makes real ISSN: 1545-1380 selected an exciting location in the White bones will know – it all depends on the Editor Mountains of New Hampshire, and more bone! Steve Wixson details about the program and how to reg- Joe was a fantastic influence and I [email protected] ister can be found on our website (click wish I had had the opportunity to meet the ‘Current’ Tab, then ‘Next Fest’). See him. Tom Connolly Executive Director Stephen Brown also the update on Page 7. [email protected] Rhythm Bones Player, Volume 20, now begins and there is lots of white space to Web Site Coordinator fill. This is my occasional plea for arti- Steve Wixson [email protected] cles, ideas for articles, etc., and after 19 years of publication it is getting difficult Board of Directors to find material. However, rhythm bones Steve Brown, Executive Director are one of the oldest musical instruments, Skeffington Flynn Sharon Mescher and there are plenty of stories waiting to Dennis Riedesel be told. Tell one! Bill Vits, Assistant Director A good example is the Page 1 story Steve Wixson, Secretary/Treasurer My father, Rhythm Bones Player about Johnny Muise by Steve Brown Kenny Wolin Darrell Flanery, passed away Sept 4, who did a lot of research and personal The Rhythm Bones Player is published 2014. He was so proud of playing The interviews before writing it. He also quarterly by the Rhythm Bones Society. Bones, which he sort of worked out on contribute his Editorial on Page 1 and Nonmember subscriptions are $10 for one his own. Unfortunately by the time he year; RBS members receive the Player as part the Ronnie McShane tribute on Page 7. learned of this group, he was too frail to of their dues. Thanks, Steve The Rhythm Bones Players welcomes travel, he died at age 99. His memory is At Bones Fest XX we presented a letters to the Editor and article on any aspect still on YouTube at https://www.you- ‘Meritorious Service Award’ to Mary of bones playing. All material submitted tube.com/watch?v=ADmjFTiUq8w and for consideration is subject to editing and Lee Sweet for her years of videoing https://www.youtube.com/watch?v=6Bu- condensation. our Bones Fests. We also presented the So3RSFsg. first ‘Community Enrichments Award’ Rhythm Bones Central web site: rhythmbones.org He played them almost to the end. to Mitch Boss for being such a good Thank you for keeping this group active, Brown’s worshops at NEFFA to sit up example of a rhythm bones player. Both and the tradition alive ! Mike Flanery back and enhance his teaching showing of these members are profiled in this people around me how to do it. newsletter. [Another Percy Danforth Tribute] At 85, I still get a chance now and We told the story of shanty-man Eric Though not a face to face meeting with then to play along at jazz gatherings and Ilott in a previous newsletter and put one Percy, he was how I got started playing with the Moody Street String Band. of his recordings on our website. Well it bones. It was at the great New England Making rhythm bones is an addiction turns out that the producer of the album Folk Festival that I first saw Percy in I find and I’ve dozens made of various with that track found out about it and one of the corridors rattling his pair of materials. Norman Nichols contacted us. He tells us more about this rhythm bones and where I stopped to unique rhythm bones player. listen and remark to myself, ‘My father used to do that.’ Bones Calendar Letters to the Editor My father was from Barbados where Bones Fest XXII. June 7-10, 2018. he said all the kids rattled those sticks Lincoln, NH. Sky and Jessye Bartlett are I made a few pairs of rhythm bones and where, then in Cambridge where hosts. To register, go to http://rhythm- early this year for a lady in LA, and lo I grew up, he’d even rattle a couple of bones.org/nextfest.html and behold as a thank you gift she sent flat stones at the beach. At home I cut a NTCMA Bones Contest. August 27 - me a set of Joe Birl bones in their origi- couple of sticks and went at it and have September 2, 2018, LeMars, IA. Rhythm nal packing! to admit it took awhile to become quite Bones Contest will likely be on Sunday. They now occupy a proud place in the proficient. I played fiddle and banjo with corner of my attic office where I display the Roaring Jelly contra-dance band memorabilia from my life. at the time and got a chance to include I was amazed at how small Joe’s bones rhythm bones with their playing jigs are compared to mine. You can see the and reels. I also liked attending Steve

2 (Continued from Page 1) 19th century venues. I needed some kind and the wrestlers had the same goal and itself is a cornucopia of music and dance, of instrument, but strings didn’t agree that was to entertain! and a great place to wander, listen and with me. With that in mind, I went to the My experience with music was participate. We would love to see you Red Dragon Music Sutler’s tent at the eclectic. I played the clarinet in concert there. Civil War Olustee Battle Reenactment in and in the marching band. I danced to Well one of my favorite places in the Florida. There were drums, bugles and the popular music of the 50s and 60s. In world is Franconia Notch. I have visited some wooden sticks about 7 inches long. 1958 my family moved to Tehran, Iran, there since a child, and spent numerous I asked what they were, and the owner where I finished high school. The music times camping with my own family, said they were “bones.” He gave a brief there was totally different and exotic. Of hiking the mountains, and enjoying the demonstration. Looked good to me. course there was the sound of the prayers scenery. How hard could it be? being chanted five times a day. One of my favorite events in the world For a year or so, I worked at trying to In 1961 I returned to the states, went to is Bones Fest! I’ve attended 16 out of the make some kind of rhythm with those college in Cortland, New York, mar- 20 Bones Fests held, and they never fail sticks. I could keep a steady beat, but ried a Cornell engineering student, and to amaze and delight. nothing more. They frequently flew became a teacher and a mother of three. Now we all have a chance to combine out of my hands and across the room. Frank played the guitar and we attended these two favorites of mine because I was a struggling, one-handed rhythm hootenannies at Cornell when we were Bones Fest XXII is coming to Franco- bones player when by chance I found the in college. Then we moved to Madrid, nia Notch! Bones Fest XXII has moved Rhythm Bones Society website. There Spain. The flamenco music there com- to June for this year, and rhythm bones was to be a “Bones Fest” in Greensboro, bined guitar, dance and song. Next we players from around the country are North Carolina. I made arrangements, went to Brazil, where the samba music taking over the Indian Head Motel and and in July Frank and I were in a hotel filled the air. Conference Center located in the heart practicing our music when there was a In the mid 1970s we returned to United of Franconia Notch, surrounded by the knock on the door. I opened the door States, first to South Carolina and then to White Mountains, a truly magical place. and a man I did not know said, “I hear Florida where we live now. Music was We have had furious activity register- a rhythm bones player in this room.” It something only on the radio or television ing for Bones Fest XXII, and have easily was Don DeCamp, and he had called me while we worked and raised our family. exceeded last years total attendance with a “bones player!” But after the kids grew up and moved almost three more months to go! I was born in North Carolina, but on, we came back to performing. He Jessye , Sky, and Ernie are doing an grew up in Virginia. My daddy was a plays banjo and I play rhythm bones. We amazing job organizing the fest with cotton mill man. He liked wrestling and do 19th century songs and stories from some great activities and performance country music. During the music season, the pages of history, and it really is all opportunities (See Page 7). we would go to Richmond every Satur- about entertaining the audiences! www. By now you probably know about day night to see the Old Dominion Barn backintyme.com my pancake addiction and the prospect Dance show with Sunshine Sue. Some of going to Polly’s Pancake Parlor in of the people there were Chet Atkins, Sugar Hill is tantalizing, and having you Earl Scruggs and the Carter Sisters. rhythm bones players with me is the During wrestling season, we would go icing on the cake! to Richmond every Saturday night to see I believe this is the last news letter be- the wrestling matches. While the country fore the fest so make your reservations: music got people to smile, tap their feet register on line at www.rhythmbones. and sing along, the wrestling crowd com, Jeremy would love to see you! was totally different. People became Steve Brown scary! They cheered, they booed and they shouted things like rip his head off, Profile of gouge his eyes, break his arm! No smiles there! But it soon became apparent that Mary Lee Sweet everything was fake. It was all drama to I’m Mary Lee Sweet and I am a Bones keep the audiences on the edges of their Player! seats. Probably the best was Gorgeous I never even heard of rhythm bones George. Everyone hated him. The boos until I was in my mid-50s. Then my were deafening! He had dyed golden husband Frank and I began to combine hair, a fancy cape and a valet dressed in storytelling, Civil War reenacting and a tuxedo who would spray the ring with music performances in our spare time. perfume before George entered, because He was playing the guitar, but switched “all those hard working farmers were to banjo, which was better suited to our dirty!” I learned that both the musicians Maey Lee Sweet by Gail Carsen Photography

3 (Continued from Page 1) of 15 by forging his Mothers signature. with a number of musicians in the Boston extraction. This was in 1938, and the world was on area including Bill Lamey, Ron Gonnel- Cape Breton fiddle music though the brink of war. So as Johnny went off la (from Scotland) and Johnny Wilmot strongly Scottish also has elements of to war the rhythm bones came too. He (Cape Breton) on fiddles, Jimmy Kelly French and Irish influences, but retains and the other soldiers entertained them- on Banjo, and Eddie Irwin, and Mary its own character. Music has long been selves by playing music, and of course of course on piano. Soon it became the a past time of people of this region, and that meant rhythm bones. He served in place to gather and play music of Cape both fiddle music and step dancing have the tank corps, and always had rhythm Breton to get in touch with that feeling of been common place. bones in the tank at the ready. One of his home. And Johnny on the ‘clappers’ was Johnny Muise was born during a trip tasks was to get the mail located some a central figure. to Boston in 1923 when his parents distance from the tank. One day upon As his reputation as the best rhythm briefly came to Boston to work in the returning he found that the tank had been bones player in the music grew, opportu- Waltham Watch Factory. A few months blown apart, and his bones with it! John- nities for recording occasionally present- later he was taken home to Cape Breton ny excelled in the Army, served during ed themselves. One of the best known Island, Nova Scotia where he spent his the Battle of the Bulge and achieved the of the Boston Cape Breton Fiddlers, Joe childhood until the age of 15. rank of Sargent. Cormier, who John often played with, There were strong Scottish connec- Johnny returned from the war just at asked him to record with him several tions, both through the language, as his age 20, and he had a decision to make. times. Grandparents and his mother were Gael- As his actual birth happened in the US, An examination of Johnny’s playing on ic speakers, and in the traditional music, he could claim citizenship, but only if these recordings reveals several things. central to the area, and played often in he did it before age 21. Opportunities First is that he was immersed in the mu- homes. Soon he was learning step danc- for work were much higher in the US, sic. Throughout his youth it’s apparent ing and participating in Saturday night and John made the decision to move to that he fully integrated that music from ceilidhs. John excelled as a step dancer Boston where he was able to work as a his listening and step dancing. Second- and became well known in the area. brick layer. ly his rhythm bone playing is a perfect Although rhythm bones seem to be Boston had a strong and active Cape marriage between the instrument and a bit of an aberration in Cape Breton Breton community. There was a strong the music. His phrasing, pauses between music, there is some documentation that Dance hall scene in Boston as well as sections of the tunes, and familiarity with indicates that they have been played. a Cape Breton ‘nightclub’ named ‘Joe the tune types shows his dedication to the One of the first groups to make records, MacPherson’s.’ It was here that John’s music and respect for the music he liter- the Inverness Serenaders, had a rhythm life, as well as his musical life would ally grew up with. His playing displays bones player, Hugh Long, and began change forever. It was here that he met an expertise that other musicians could recording in 1934. There is also men- his future wife, Mary Edmonds. Mary’s truly appreciate and respect. tion in an Anthology of the Cape Breton Aunt, Betty Mailet, was a well- known As the Muise home became a cen- Magazine, of a rhythm bones player John piano player who had recorded and was tral figure in the Boston area for Cape “Wild Archie” McLennan playing in a member of the Inverness Serenaders. Breton music, many of the sessions at Cape Breton, but he states he never saw Mary herself had learned piano and be- the house were recorded by the family. In another rhythm bone player and began came an accomplished player. They were 2012 over 200 hours of recordings were playing on his own. Rhythm bone play- married in 1951. donated to the Burns Library at Bos- ing today in Cape Breton music would Little is known of John’s rhythm bone ton College. Many of these recordings be relatively rare. playing during this time, but as he and feature some of the best musicians from Johnny told me he first saw rhythm Mary’s family grew they established their Cape Breton, and the Boston area. Sever- bones being played by a workman repair- home in the Boston area and that includ- al examples of Johnny playing ‘clappers’ ing a slate roof. The workman picked up ed getting a piano for the home. are included,and can be accessed on line. two pieces of slate and played them like As is the case with immigrants from The impact of the Muise family has bones. His daughter Rose felt certain that all countries, gatherings in homes and been clearly documented by two tunes he had learned to play from an Uncle, other locations is one way to stay in written in their honor by noted musi- and his daughter Janine reported that his touch with the culture, and of course for cians. Frank Ferrell, noted fiddler, wrote Uncle Alex Walker played rhythm bones. the Cape Bretoners this means music. Gacie’s Birthday March in honor of John was very percussive, having been With the strong connection with Mary’s Mary Muise, and Boston born Cape Bret- a step dancer, and would take knitting Aunt, musicians visiting the Boston on Fiddler Jerry Holland wrote Johnny needles and play them on the strings of area from Cape Breton soon realized the Muise’s Reel for John. This tune has a fiddle, much like the “fiddle sticks” Muise home was the place to gather for been recorded by the noted Irish accor- played in Cajun music. music and dance. With Mary at the piano dion player, Sharon Shannon and Cape Conditions in Cape Breton at that time and John on rhythm bones, nearly every Breton fiddler Kinnon Beaton. were severe. Work was limited, and mak- musician traveling through Boston made Over his lifetime Johnny played with ing a living very hard. Johnny managed an appearance in the Muise home. so many musicians, it prompted his to join the Canadian Army at the age John and Mary became good friends daughter to respond to the question,

4 “Who hasn’t he played with?” Noted graduated from the Kendall School of and Janet Hines in Homer, NY, I was giv- players Buddy McMaster, Jerry Holland, Design, now the Design Department of en a beautiful plaque denoting how much Jerry Robichaud, JP Cormier, and Irish Farris University, and they moved South I was welcome in the Rhythm Bones fiddler Brendan Mullvihill. Young phe- in 1958. Society’s family. I hope some welcome nomenon Ashley MacIssac always asked Mitch designed furniture for a lot of token can be given each year to express Johnny to join him on stage when he companies in the US until all the furni- how much we care for our members. could. Young group ‘Beolach’ was one of ture business went over seas, and he end- “Since Annette and I have retired and his favorites. ed up designing for companies importing now live in a Retirement Community, I Johnny Muise passed away in 2005, out of Honduras, the Philippines, China, have only played for some community and his wife Mary in 2015, but their Indonesia and Vietnam. With Annette events and the band (Banjo, Piano & legacy has clearly been carried on by running the office they designed furniture Sax) that I played with has succumbed to their family. Janine Randall, their eldest for 50 years. life changes and has disbanded. daughter, has become one of the most His dad showed him how to play “Playing with others is what music respected pianists in the traditional music rhythm bones only on spoons held like is all about. If you are lucky enough to communities both in Boston and Nova bones. Over the years Mitch has collect- get with a group that is how you pick up Scotia. She is the founder of the Ceilidh ed over forty sets of rhythm bones made a sense of timing and togetherness that Trail School of Celtic Music where she from one thing or another. He has one makes playing feel so good. taught piano for a number of years, and set made of teak brought back from India “Annette and I love Bones Fests, and where John would spend his summers, and even a set from auto window glass we pouted for a week after medical prob- playing rhythm bones at any invitation. (nice tingling). lems made us miss Bones Fest XXI. You Johns daughter, Rose Marie, is an accom- Lately if he gets a chance to play, he is really learn how much Bones Fest means plished rhythm bone player herself, and using one pair of Steve Browns’ rhythm to you when you miss one. is keeping her father’s tradition alive. bones made of shin bone and one pair of “You know, when you get into your Along with John, she attended the New plastic rhythm bones that he got from Joe eighties, a lot of things can happen. That England Folk Festival in 1999, and par- Birl. He likes rhythm bones that have a is why we rented a cabin in Lincoln, NH ticipated in the Rhythm Bone Workshop distinct sound in each hand. for Sky and Jesse’s Bones Fest XXII along with noted players Russ Myers, Mitch says, “Beginners need all the already in January for their June Fest! Everett Cowett, and several others. help they can get, and I have been a See you all there! Hope all is well with John’s Grandson Connor McGoff also beginner for seventy-four years now. No you and yours.” plays rhythm bones. matter how long you play, every time [Note: To get a sense of Mitch’s hu- Although it remains unclear the place you pick up your rhythm bones and hear mor, look at RBP, Volume 18, No 3, Page rhythm bones hold, if any, in Cape that first note, you start all over again.” 7 for his thank you note after receiving Breton music, one thing is clear to me, “At Bones Fest XX hosted by Gerry the “Community Inspiration Award.”] Johnny Muise was a corner stone in the playing of rhythm bones in this music. As we discover more about how rhythm bones contributed to various musical genre’s, Johnny’s contribution remains on a par with the great players of our time, if not fully recognized. And who knows, maybe in the future we might see more people playing the ‘Clappers’ in Cape Breton music, and know that Johnny Muise helped to blaze that trail. Steve Brown

Profile of Mitchell Boss Mitchell Boss was born and grew up in Grand Rapids Michigan. He went into the Navy right out of High school and served in the Naval Air Force as an electronics technician during the Korean conflict. Getting out of the service in 1954, he married Annette in 1955; they had gone to high school together. He Mitch Boss performing at Bones Fest XX. (Photograph by Art Sands)

5 time in the school library seeing what of any ‘orthodoxy’. Erik didn’t fit into Erik Ilott was available in my subject area. On the Bristol club’s ethos and it was some Some Memories entering the library I found it deserted years before the club realised that they and began to find my way around. I then had in Erik something close to a real tra- [Editor’s Note. To fully appreciate heard some clicking noises and following ditional singer. By this time the club was this story, read a previous article by Pete the sound, I found Erik sitting at the li- also taking a gentler line. Erik, however, Hayselden and listen to two recordings brarian’s desk and playing the bones. He flourished in the other Bristol clubs and of Erik’s rhythm bones playing on our was very apologetic and explained that also further afield at Folk festivals and website. To find the article, go to rhythm- he was writing a book about playing the music weekends. He was shrewd enough bones.org/documents/RBPVol1to16.pdf, bones (I don’t think it ever materialised) to see what the audiences wanted and and search using “Ilott” pressing enter and was taking advantage of the library versatile enough to tailor his repertory to until you get to Vol 13, No 1. There is being empty to write a few sentences. I that end, even dressing the part on most a photograph of Erik playing with four was sufficiently interested to ask more occasions. In this respect he was close rhythm bones in one hand and three in and from that developed a musical and to the priority of the traditional singer, the other. To listen to the ‘Shipshape’ personal friendship that lasted till his aware of the need to sing the right song recording go to rhythmbones.org/Erik- death. at the right time to contribute to a social IlottShipshapeSong.html. He plays in a Erik was an unlikely librarian - to put evening. quite different style than we are used to it mildly! The story was that the school Erik was also a natural showman hearing, but the overall recording is quite had been short of a PE teacher, and as and played the ‘Jolly Jack Tar’ role to captivating. Roger Digby has also given Erik, who lived very close to the school, perfection. He felt that the concertina us permission to add a track from the ‘Of had a reputation as a competitive cyclist, was a part of that image and he had a Land and Sea’ cassette that shows more he was asked to fill the gap. Later he was 30 button Wheatstone ‘Linota’ Anglo of his style. Go to rhythmbones.org/ replaced when a qualified PE teacher Concertina in the key of Bb. He was not ErikIlottLand&Sea.html.] was found. Erik accepted this, but then a good concertina player!! in fact he only someone pointed out to him that the em- knew a very few song accompaniments It’s very easy to recall my first meeting ployment legislation did not allow him to (and often made mistakes - not that with Erik Ilott because it was truly ex- be dismissed in this way and the school that troubled him in the least!). He also traordinary. was obliged to take him back. At that played 5 string banjo in a basic rhythmic time there was a vacancy for the school style and could get an accompaniment librarian so Erik took on that role. out of an autoharp. His playing of the I learnt a lot from Erik about sea-songs banjo-ukelele was more proficient, but it and performance and he encouraged me was his playing of rhythm bones which to go out to Folk Clubs with him. The always made the strongest impact. Partly term ‘Folk Music’ in England covers an this was the novelty, partly it was the absurdly wide range of music and some spectacle, as Erik maximised the visual clubs preferred to specialise. In Bristol effect; mostly, though, it was because there was a club operating somewhere he played them very well, with a full every night; a Ballad and Blues club and a University Folk club, also the excellent Troubadour, and so on. One such club was The Bristol Folk Tradi- tion which took a very hard In the Autumn of 1972 I was studying line, insisting that every for a PGSE at Bristol University and was song must be traditional placed for Teaching Practice in a local and performed in what they school. I had been interested in ‘Folk perceived as traditional Music’ for some years, but had not yet style. This revivalist ortho- acquired a critical ear nor developed the doxy was not uncommon understanding, which I now find crucial, in those days and was soon of the difference between ‘Folk Music’ to be strongly challenged and ‘Traditional Music’, the latter now when recordings started to being a major interest of mine. Nor at be made and commercially that time had I started playing the Anglo issued of traditional singers Concertina, the instrument with which I who were still alive and am nowadays associated. singing in their local com- On my first day at the school I thought munities - real traditional it would be sensible to spend a bit of music and, indeed, unaware

6 handful of four bones in the right hand to the fact that a track from the LP was bodhran playing. If you compare it to and three in the left. I’m not sure whether being used on the Rhythm Bones Society stuff now a days, bodhrans in particular there was a reason for this or whether website. I followed this up and found that they have evolved into tonal change, he had just seven bones and thought he the site said that efforts to gain permis- greatly exaggerated. But Ronnie and my might as well use them all. This rhythmic sion to use the track had been fruitless! father were always on the pulse. adjunct to his unaccompanied singing of This is hardly surprising as it all hap- “That is where Ronnie sat, he used to sea shanties was his speciality and it is pened a long time ago, but I did even- play the banjo, and toward the end of this for which he was best known and is tually make contact and the result was his life, quite a lot in sessions. He was a now best remembered. the request to write a few lines about my good guy, he was my fathers PA (public- He did, however, have many other experience of knowing and working with ity assistant) for a while when we moved sorts of songs; many were songs of the Erik - a request to which I have finally to Cuill Adoh, but my father couldn’t sea and some of them local to Bristol. responded after a long long period of afford to pay him and the time came By the time I knew Erik, Bristol docks procrastinating! Roger Digby UK when he had to immigrate and get work had moved to Avonmouth, because the in England. stretch of the Avon up to Bristol was tidal Ronnie McShane “He became a concierge , a doorman, and too winding for the larger ships that and worked his way up until he became were becoming the norm. Bristol. howev- Tribute the president of the Golden Key Associa- er, remained a proud naval town. In the Peadar O’Riada, son of Sean O’Ri- tion, he was the first Irishman ever to do 1940s the BBC had made recordings of ada Composer, musician, visionary that. He returned home when he retired, Stan Slade, ‘The Bristol Shantyman’. who started the group Ceoltori Culla- and was asked to adjudicate the All Ire- Slade had been a shantyman in the days nann which had a profound effect on land Bone Playing Competition twice. of sail and Erik learned a number of his traditional Irish music. Ronnie knew “Ronnie was an original of the species, songs. He also had songs from the rural Sean in Dublin when he worked at the I don’t know of any other bones player communities outside Bristol. In fact, Abbey Theater, and later moved with before him. I have to say that Ronnie was he sometimes did a ‘Country Bumpkin’ him to West Cork, Cuill Adoh. Ronnie’s like an Uncle to us he was a really good music hall routine. bone playing can be heard through the guy. We were very fond of him. We did In 1973 Erik and I had the idea of recordings Sean O’Riada made, and do a recording together, bodhran and tin producing an LP which Erik would sell was used during the filming of “Playboy whistle but it’s out of print now.” Steve on gigs. The result was ‘Shipshape and of the Western World.” Peadar was a Brown Bristol Fashion’ which we produced and good friend of Ronnie’s, and as he says, manufactured ourselves, pressing the 99 “he was like an Uncle to us.” Peadar is Bones Fest XXII copies that were then free from tax. The himself an accomplished musician, and LP was studio recorded in just one day at one point recorded an album with Update and was very hit and miss. We were very Ronnie. He was reached by telephone to Were getting close! Another Bones lucky to have the help of Ray Andrews, comment on the recent passing of Ronnie Fest will soon be upon us. Thank you to an outstanding English finger-style banjo McShane. all of you who have already registered! player (one of very very few!). Erik often “Ronnie started out as the props man- This is likely to be a pretty busy fest, and took Ray out with him on gigs and his ager at the Abbey Theater and my father there will be some interesting locations spectacular banjo playing was often the was putting a group together to play that we will visit. For those of you on the solid base behind Erik’s singing when he for Brian McMahon’s play “The Honey fence about coming, I encourage you to chose to lay aside the rhythm bones. Spike.” They wanted to have bones in check out the Cannon Mountain location Bill Leader’s excellent Leader la- it and Ronnie went down to the butcher and the Clark’s Trading post location bel had just started issuing LPs of real shop and got some bones and put them online. As with all Bones Fests, this one traditional singers which also included an up on the roof of the house to weather will be different, but as with all Bones extensive booklet about the artist and the them. And that’s how he got the really Fests, we are trying to create a scenario musical context. Erik was very enthused nice hollow sound to them. that allows for a lot of bones playing by these LPs and wrote and produced a “He had a very sharp beat, very clean, combined with some great scenery and detailed booklet to go with the LP. like my father’s bodhran playing, on the public education about the bones. A few The LP sold quickly and was never beat, on the pulse. Looking back they things I’ll mention: Bring warm clothes- reissued. Erik also privately made a were so definite, with the beat of the -it could very well be 75 degrees, it may cassette, ‘Of Land and Sea’, which also music, where as today a lot of bodhran very well be 45. If nothing else it will featured the singing of his wife Kate. As and bones players are too complicated, likely be cold and windy on the top of far as I know this has also never been ornamental, getting away from the pulse Cannon Mountain, not that we intend to reissued. He also had tracks on vari- really at the expense of the music. be up there too long. Don’t forget that we ous compilations and was involved in “If you listen to the first Ceoltori will be interacting with the Boy Scouts ‘Sounds of The Sea’, a give-away from Cullanann recording, you can hear the and that these are the kinds of moments Ribena! crispness that they bring into it between A few years ago, a friend alerted me Ronnie’s bone playing and my fathers (Continued on Page 8)

7 (Continued From Page 7) that the Rhythm Bones Society was formed for--to perpetuate the craft--, and that some patience will no doubt be re- quired. Fortunately, in my experience, this is where all of you individual members who make up the Rhythm Bones Society truly excel! Just a heads up- please know that our Saturday night performance will likely be pretty tightly packed, but that there will be space to step back from the crowd to take a breather if you’re not the crowd type. Drinks will be available for purchase at the Saturday night show. The Cabins that we have reserved at the hotel form a kind of ring with a court yard, set back into the woods, and we are hop- ing that this setting will work well as a communal space for folks to gather, play and generally enjoy as our own fest-re- lated space. As we have mentioned in the reservation info, there are hotel rooms available, but I personally think the cabins are very cool. So for to everyone who has reg- istered, thank you. And to anyone who cannot make it, know that you will be missed! Sky and Jessye Bartlett

Rhythm Bones Society 1060 Lower Brow Road Signal Mountain, TN 37377-2910

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