Rhythm Bones Player A Newsletter of the Rhythm Bones Society Volume 10, No. 3 2008

In this Issue The Chieftains Executive Director’s Column and Rhythm As Bones Fest XII approaches we are again to live and thrive in our modern world. It's a Bones faced with the glorious possibilities of a new chance too, for rhythm bone players in the central National Tradi- Bones Fest in a new location. In the thriving part of our country to experience the camaraderie tional Country metropolis of St. Louis, in the ‗Show Me‘ state of brother and sisterhood we have all come to Music Festival of Missouri, Bones Fest XII promises to be a expect of Bones Fests. Rhythm Bones great celebration of our nation's history, with But it also represents a bit of a gamble. We're Update the bones firmly in the center of attention. We betting that we can step outside the comfort zones have an opportunity like no other, to ride the where we have held bones fests in the past, into a Dennis Riedesel great Mississippi in a River Boat, and play the completely new area and environment, and you Reports on bones under the spectacular arch of St. Louis. the membership will respond with the fervor we NTCMA But this bones Fest represents more than just have come to know from Bones Fests. We're bet- another great party, with lots of bones playing ting that the rhythm bone players who live out in History of Bones opportunity, it's a chance for us bone players to Missouri, Kansas, Illinois, Oklahoma, and Ne- in the US, Part 4 relive a part of our own history, and show the braska will be as excited about our foray into their

people of Missouri that rhythm bones continue (Continued on page 2) Russ Myers’ Me- morial Update

Norris Frazier Bones and the Chieftains: a Musical Partnership Obituary What must surely be the most recognizable Paddy Maloney. In 1962, Paddy, an uillean piper traditional Irish music group in the world, The from Dublin, along with Martin Fay, fiddle, Seán Notice of Pro- Chieftains, through their travels, have spread Potts, tin whistle, Micheal Tubridy, flute, and a posed Amend- their music and instruments across the globe. friend of Paddy's, bodhrán player, David Fallon ment to By-Laws Traditional Irish instruments such as the harp met to record a one-time album for Garech a Columns: and Billycan Pipes are now recognizable instru- Brún's Claddagh label under the title of The Executive Direc- ments in many countries, and nestled firmly in- Chieftains. The musicians were already familiar tor side the group of instruments associated with the (Continued on page 7, Column 2) Chieftains, are the bones. Editorial Bone playing can be heard on a great number of Chieftain recordings, and even seen on the Letters to the cover of one of their albums. Great bone players Editor like Tim Riley from Mystic CT., and Rob‖the bones‘ Coppard, street performer and musician Website of the living in Bantry, Co. Cork Ireland were inspired Quarter to play the bones from listening to their albums. I list myself as someone inspired to play the Recording of the bones by Chieftain recordings when I impul- Quarter sively purchased Chieftains 5 in 1976, never having heard the music, but seeing the bones on Bones Calendar the cover, I had to hear what they sounded like

(see photograph on Page 8). Future Issues It‘s true that the bones are not featured on Highlights of every track, but rather are sprinkled through out Bones Fest XII the recordings like sugar on your morning ce- real, or parmesan cheese on spaghetti. Bone playing can be found on over 30 Chieftain re- Chieftains 3 CD cover. From left in front, Peadar Mercier, cordings, some to a greater extent than others, bodhrán and bones, Martin Fay, fiddle, Paddy Maloney, but all with their signature taste and dynamics. ulleann pipes, Sean Keane, fiddle, and in back, Sean Potts, tin The musical architect responsible for forging whistle and Michael Tubridy, flute. Produced by Shanachie the Chieftains and their musical arrangements is Records Corp. Photograph by Claud Virgin

1 Rhythm Bones Player at Bones Fest XII in October.] Editorial I am so pleased and touched that Rhythm Bones Society you cared enough to include Dad's Volume 10, No. 3 The lead article in this issue is on Third Quarter Quarter 2008 obituary in your next newsletter. ISSN: 1545-1380 the Chieftains and their rhythm bones Also, I already had in mind sending playing. As Steve Brown writes, he you the memorial DVD I put together Editor was seriously influence by their for the funeral service. It's all video Steve Wixson rhythm bones playing. A list of their [email protected] clips of him in action, no photos, just CDs with rhythm bones is included. action footage with lots of "bones" Executive Director Wouldn‘t it be great if we could get clips. I thought you and whoever else Stephen Brown them to release a CD compilation of wants to see it would really enjoy it. If [email protected] their rhythm bones tracts. you could email me your address I'd Web Site Coordinator One of my personal favorites is be glad to send you the DVD. Jonathan Danforth Crowley’s Reel from the album James There's one clip of him doing the [email protected] Galway and the Chieftains which drum part for the song "Wipe Out" on showcases Martin Fay‘s clean and Board of Directors his bones that will show you how Steve Brown, Executive Director crisp playing style. good he really was. Everett Cowett A few words for this article were When he came to the bones festival Jonathan Danforth taken from the Website of the Quarter. in Louisville, he had slowed down Gil Hibben, Assistant Director Another installment of Beth Lenz‘ Mel Mercier quite a bit and I've always felt that Jerry Mescher thesis on the History of Bones in the you all didn't really get to see what he Steve Wixson, Secretary/Treasurer US is included in this issue. could do! He sure enjoyed the festival We‘ve made progress on complet- and I wish I could have been there The Rhythm Bones Player is published ing the Russ Myers‘ memorial project quarterly by the Rhythm Bones Society. along with everybody else. Nonmember subscriptions are $10 for one year; and you can soon view the result on I'd also like to mention that at Dad's RBS members receive the Player as part of their your computer. memorial service we opened it with dues. How many of you remember the our family members performing I'll The Rhythm Bones Player welcomes letters to Frazier clan at Bones Fest VII in Lou- the Editor and articles on any aspect of bones Fly Away. We included three bones playing. All material submitted for consideration isville. Norris Frazier died last year players, the jews harp, fiddle, piano is subject to editing and condensation. and his daughter sent his obituary and and two singers. You should have Rhythm Bones Central web site: rhythmbones.com some personal notes. seen the heads turn! It was great, and There are two reports on this year‘s we were told by some that it was the NTCMA Festival and Contests. The most upbeat funeral they'd ever at- Notice of Vote to Mescher Trio performed and taught tended. It was truly Dad. two Bones Workshops. Dennis Riede- Thanks for thinking of Dad and Change By-Laws sel attended his first National Tradi- God bless.... Sandy Riggers tional Country Music Festival and At the Board meeting at Bones Fest competed in the Bones and Spoons (Executive Director Column - Continued from page 1) XI, a motion was made to amend Arti- Contest. Yes, after two years there part of the country as we are to go cle VI of our By-Laws so that our was again a contest. Thanks to Dennis there. And we're betting that even fiscal and tax year co-insides with the and others for competing and making though the country has a bit of an eco- calendar year. Currently our fiscal it happen. I asked Dennis for a short nomic downturn, it's not going to stop year runs from October to September article, but as you will see, he had so us from doing what we always do, of the following year. For this motion much to say about it that a few words play the rhythm bones. to be adopted, it must be voted on by did not work for him. Spike Bones and Scott Miller are the membership at our General Mem- working tirelessly not only to make a bership meeting at Bones Fest XII and festive event, but to make sure its af- passed by at least a three-fourth vote. Letter from Norris fordable for all our members. The original October start date was And while you hear about the woe's selected because our Fests were in Frazier’s Daughter of the airline industry, I was able to September and it made sense to start book the cheapest flight of any bones the new year right after the Fest. More [Editor‘s note. Norris and his wife fest I have ever attended. recently Fests have been held in the attended Bones Fest VII in Louisville So practice those rhythm bones, summer making the October date not and a dozen or more of his family pack that suit case, and prepare your- relevant and confusing to members. came early and surprised them as they selves for the wonder's of a state If the amendment passes, one result entered the doors of the Kentucky placed smack in the middle of our will be five issues of the newsletter Theater where the Fest was held. Most great country, because it's time for us this year only instead of four. of the family played rhythm bones and to ‗Show Me‘ and all of the great mid- This is the formal announcement performed for Fest attendees. The west what the rhythm bones are all for the vote as required by our By- DVD mentioned below will be shown about. Steve Brown laws. Steve Wixson, Secretary

2 Bones Fest XII , October 16 to 19, 4. If you fly and need to make a Norris Frazier 2008 in St. Louis will be a celebration hasty departure Sunday you may want of our 12 great Bones Fests. Since to check out the airport hotels. The Obituary you receive the "Rhythm Bones METRO train has two stations at the Norris Frazier, 80, a longtime Player" you are also a Rhythm Bones airport and only 5 minutes to the Kamiah, Idaho resident, passed away Society member and enthusiastic UMSL south campus stop site of our on Sunday, Dec. 23, 2007, at the bones player. You are the faithful and venue. It takes 30 to 45 minutes to Grangeville Health and Rehabilitation will be at the heart of our presenta- take the train on to the riverfront. Also Center after a long, hard-fought battle tions for the public. My wish is that you can get special deals for both ho- with congestive heart failure. He is you all can attend. Whether you at- tels and air fair on sites like now "rattling the bones" at heaven's tend or not, please put the word out Obitz.com. The Airport Dury Inn has ongoing jam session, leaving us with about BFXII on your personal net- offered us a deal similar to AAA or a lifetime of loving memories and a works (in person, phone call, E-mail AARP discounts. legacy of courage and stubborn deter- or Snail-mail). Tell everyone go to 5. Remember to bring a T-shirt, mination to survive in spite of the www.rhythmbones.com for details vest or any other garment you would health challenges he faced. and registration information. If you like a BFXII logo affixed to. Norris was well known in the re- know anyone that does not have web Register now so you will receive gion as a talented musician, playing access please forward us their address one of our 50 gift bags. his banjo and bones to the delight of and we can mail them information. If All aboard Bones Fest XII, Spike many audiences. He shared this talent you are unable to attend, send Steve Bones, (773) 787-7778, spike- by teaching bones classes to adults Wixson a 3 to 5 min video that we can [email protected] and children. He was also a talented play at the fest. woodworker and made sets of bones For those that can attend, here are a Bones Fest XIII and many other creations for his fam- few notes from the Captain: ily and area residents. 1. In October Missouri may be hot Proposals Requested His talent as a bones player is per- or cold or both. Bring a Jacket, com- Your Board of Directors is seeking haps best summed up with this quote fortable shoes, and a small back or proposals for Bones Fest XIII next from his niece, Deanna‘s eulogy: fanny pack for our march to the year. If you are interested, please ― I loved the way he played music. arch. For anyone not wanting to walk email me and I will send you a Bones What most set him apart as a musi- too far, there will reserved parking Fest Host Guide that will explain what cian was what he could do with a pair close to all venues. is required. Talk to any previous host of rattle bones--nothing more than 2. We encourage any costuming and they will tell you how much fun carved hardwood – often carved by Saturday afternoon for our march to and rewarding it is. Uncle Norris. At first glance, they the arch and riverfront revelry! We Please respond quickly so your would appear to be the last instrument are choosing the era around 1870 proposal can be discussed at this a person would select for the purpose when all the performing bones players year‘s Fest. At this stage, a verbal of making music. But in the talented would have to walk the 18 blocks proposal is all that is needed. Steve hands of Uncle Norris, the result was from the train station to the riverboat. Wixson, wixson@chattanooga,net an incredible and intricate rhythm of But remember we are bones players clackity clack in time to a song or and not reactors! So have fun, be com- even by itself that was amazing fortable and anything goes. Bones Calendar enough to stop you in your tracks.‖ 3. There are still special bones suites available at the Crowne Plaza Check out the Calendar on the Hotel. The Plaza has now offered to rhythmbones.com website. Bones Fest XII Update extend the special rates to include Oct Bones Fest XII. October 17-19, 2008. 16 and 19Th for anyone wanting to Details in this newsletter and at The Bones Fest XII Announcement attend the pre or post fest events. We rhythmbones.com. and the Registration Form was are hoping that at least 5 of the 10 NTCMA AND Bones Contest. Au- emailed to members a few weeks ago. suites will be the 2 room and a kitchen gust 31-September 6, 2009 There is a paper copy enclosed with suites, and can participate in a round this newsletter for you procrastinators. robin receptions, Saturday 5-7 PM. The are suites still available at the The Captain's suite will feature a Website of the Quarter Crowne Plaza Hotel and dorm rooms chance to meet Queen Madaline (my at the University. Check the back of mom), Mark Twain and Lewis and There are many website where you the enclosed Registration Form for Clark. The volunteers will deliver all can learn more about The Chieftains. details. Our host, Spike Bones, has supplies and refreshments to the hosts One good website is mem- lots of details on rhythmbones.com . suites. These Suites are large enough bers.shaw.ca/chieftains where you Spike is introducing some new to party, play bones, and watch bones read their history, see a complete list things Bones Fest XII. Come help videos. of their albums and more. make it happen.

3 ―Albert kept it in mind, then finally two of the wooden strips in her hand. NTCMA 2008 Update found a fellow who knew what the "It's kind of like snapping, the way bones looked like, so he made Albert you move your wrist." strips of wood out of old pitchfork ―The sound, she said, is like tap The results of the 2008 NTCMA handles. dancing. Bones and Spoon Contest are in. ―Later, he met a man that knew Cloud said she was glad she came Kenny Myers, who accompanies the how to hold the instrument, but not to the lesson. Mescher Trio, won first place. Kenny, play it. "I think," she said, "it's a lost art." inspired by the Meschers, started play- ―From there, Albert taught himself. ing after last year‘s Festival. "He'd sit down with the old self- This rhythm bones playing inspired player piano -- there were no CDs or Magdalene Biesanz to write a story record players back then, but every Dennis Riedesel’s for the Friday, August 29, 2008 issue home had a self-player piano," Jerry of their newspaper titled No strings, said. Reports on his no mallets -- musical bones make sim- ―Jerry also taught himself. plicity sound good. Below are some "I made my bones out of peach NTCMA Experience extracts courtesy of the Le Mars Daily crates -- my mom canned peaches -- I cannot attend Bone Fest XII this Sentinel. and I'd play them to the polka music year because of a board meeting I ―He's not a doctor. He doesn't study on the radio, three times a day for 15 have to attend. So I used my Bone dinosaurs. But Jerry Mescher likes to minutes," he said. "It takes the three Fest funds to attend this year's play with bones. The musical instru- Ds. Desire, determination and disci- NTCMA festival in Le Mars, Iowa. ment that is. pline. But if you don't have the love I arrived Friday afternoon and spent ―Mescher, his wife Sharon and his for it, you're not going to have the the afternoon and evening setting up sister Bernie Worrell are clicking and discipline." my backpacking camp (tent and clacking away at the Old Time Coun- ―Most sets of bones wind up in the camping gear small enough to carry in try and Bluegrass Music Festival this drawer after people buy them, Jerry my luggage aboard the plane) and week at the Plymouth County Fair- said. then visited the different stages and grounds in Le Mars. "Don't let frustration set in," he jam sessions. There were two outdoor ―They're preserving a tradition, urged the crowd, then he and his wife stages and five indoor stages with a Mescher says, and they're passing it and sister took the crowd step by step new ‗act‘ every 15 or 30 minutes on on to others. On Thursday they taught through how to hold and play them. each stage. a group of about 30 people the bones *Make a fist, and bend your wrist As I was walking around the differ- basics (see two photographs on Page up at about a 90 degree angle. ent venues, I heard bones rattling so I 8.) *The first bone is stationery, held made a beeline straight to that build- "If you can hold the bones, you can between the index and middle finger, ing. I said to myself, "Self, I know play the bones," he said, positioning right down the middle of the palm, that bones routine; that's the two small flat wooden sticks in each and squeezed tight. Meschers!" Sure enough, as I entered hand. "And playing them is all in the *The second bone is held between the building, Jerry, Sharon, and Bernie wrist." the middle and ring finger, with the were putting the finishing touches to a ―The bones are probably one of the ring finger acting as a spring when the Bones Workshop. We visited and then oldest instruments at the old time mu- wrist moves, moving the second bone joined several jam sessions the rest of sic festival. Versions of them were to click against the first. the afternoon and evening. found in graves dating as far back as *Turn the wrists out and down, The first thing I did when I got to 2000 B.C. letting the second bone hit the first. the festival was to enter the bones "They used to use real bones," ―Mescher Bones has more informa- competition. I was a bit concerned Sharon said. "Some people still do use tion and songs on their website, because I was only the second one to cow shinbones or rib bones." mescherbones.com. sign up. That held true for most of ―In the Middle Ages, the bones ―People of all ages joined the work- Saturday, but Jerry insisted that he were used by people for spiritual mu- shop to learn. Jerry's wife said she could get the minimum of five bones sic and by lepers, warning others of learned just a few years ago. players to sign up so we could have their approach. "I thought to myself, 'I'm missing the competition Saturday evening. ―The instrument was likely brought out on all the fun,' so during harvest, Through out the entire day Satur- to the United States by the first set- out in the tractor, I practiced by my day, I boned in on various jam ses- tlers from Scotland, England and Ire- self," she said. sions whenever there were not any land, Sharon said. ―Now she's got it down. stage acts I wanted to watch and listen ―Jerry Mescher and his sister, ―Lori Cloud, a visitor at the music to. Bernie, grew up hearing their dad Al- festival from Anthon, stopped in at the For the bones competition, we had bert play. [See Volume 8, Number 4 workshop after she heard the trio -- to find our own ‗live‘ music accompa- for a more complete story on the dubbed Mescher Bones -- play. niment and in one three hour long jam Mescher Tradition.] "I think I'll get it," she said, holding

4 session I was interested in an young, grade. In between the Sophomore and excellent banjo picker. I asked him to the Junior year of high school, I taught History of Bones in play for me and he agreed. At a later my self to play tuba and played that jam session he was joined by a young the rest of my high school and early the US—Part 4 friend of his that played a very, very, college years. In college, I taught my- [Part 1 of this thesis appeared in very good guitar and I asked if he self to play string bass, played that in the Vol 8, No 2 issue of the newslet- would also join me on stage for the the college band and then played bass ter. Part 2 appeared in Vol 8, No 4 competition. violin in our local symphony for the along with the Table of Contents for I happened to pick the number that next ten years. the entire thesis. Part 3 appeared in made me the first to perform so I got Since then I have been playing a Vol 9, No 3.] on stage with my two ‗pick up less wash tub bass with a lever at the top The final musical context involv- than an hour before‘ players. How- of the neck to change the tension of ing the bones to be discussed here is ever, the guitar player came on stage the string for the different bass notes. the instrumental dance music of Ap- with a mandolin and I thought to my- So I have had some experience in the palachia. Documentation of this tradi- self, "OK, Lets see what this kid has bass playing world. tion, especially documentation which on the mandolin." Talk about being Remember my guitar, mandolin mentions the bones, is difficult to find. lucky and picking up two of the better player--he was playing the bass but There are several reasons for this. players at the entire festival!!! Oh how he could play the bass. The First of all. This music is part of an But just a couple of problems, I had players were passing around the mel- oral tradition. Information has been to bone to three songs and we had not ody line and they passed it to this bass passed from musician to musician picked out what songs to play!. We player. The song was "Grandfather's through word-of-mouth, not through settled on a bluegrass version of Red- Clock" and this kid played a bluegrass the use of written materials. wing,, but I don't know what I did--I version of the melody of Grandfa- Secondly, instrumental dance was boning on automatic--don't know ther's Clock on the bass!! This made music of Appalachia seems to have how many of my licks I was able to my trip to Iowa worthwhile!!! escaped the notice of music scholars. demonstrate. Steve wanted this to be short, but I What limited materials do exist touch The second song was (again a blue- had to tell the story. One good thing only briefly on Appalachian instru- grass version) of Grandfather's Clock for me--it has taken me so long to mental dance music of this time pe- and I think I did OK--at least I was write this that hurricane Ike has turned riod; their main focus is on the com- able to catch the ‗Tick-Tocks‘ in the away from us and seems to be heading mercial development of "hillbilly mu- song and do that on the bones. Also north with landfall above Houston-- sic" or the "old time string bands" of for this piece, I played my stone age hope he doesn't turn South and take the 1920's and '30's, a genre which bones which I had made from the aim at me again! Dennis Riedesel gradually evolved into what is now ivory of a mammoth tusk (I know known as country and western music. these are stone age because the mam- The accounts that do exist men- moth has been extinct for 10 to 12 Russ Myers’ Memorial tion the repertoire of Anglo American thousand years.) dance tunes only as part of the reper- For the third piece, I asked the A memorial for Russ Myers was toire of "old time string bands" re- players to play a waltz so I could dem- established after his death (See Vol- corded by record companies in the onstrate the three bone waltz rhythm I ume 5, Number 2 for a story on him.) early 1920's. Although some features have developed. The Possum Ridge String Band gave of Appalachian dance music are pre- The organization would not release us copies of their CD with Russ play- served on these recordings, most often the results of the competition until the ing bones and telling stories asking the recorded performances feature a final performances on Sunday evening only that recipients donate toward this more elaborate instrumentation than but I had to leave to catch the plane memorial. About $400 was received. one would have encountered in the back to Texas. I know I came in at The Board approved the purchase Appalachian area. Furthermore, the least in sixth place because that is how of a TV/DVD that will be placed in introduction of the guitar to dance many bones players were in the com- the Historical Society building in music in the late nineteenth or early petition. Madison County, VA where Russ twentieth century brought a shift from I want to finish this with a short lived. Mel Mercier and I are working a non-harmonic style to one harmoni- description of a ‗musical moment‘ on a video that will be played on the cally based. Recordings made during that I experienced after the bones TV/DVD as well as on our the early 1920's tend to catch the competition Saturday evening. I went rhythmbones.com website. This video emergence of the new harmonic style back to the jam session and found highlights Russ‘ bones career and rather than preserve the older non- some of the best players at the festival includes lots of video, photographs harmonic style. playing. Jerry was jamming along so I and audio of him playing bones and Thirdly, there is a lack of infor- just sat on the sidelines and watched. telling stories. I will bring a draft of mation about instrumental musical I started my music career learning the video to Bones Fest XII. Steve practices in seventeenth-, eighteenth- to play cornet while in the fourth Wixson (Continued on page 6)

5 (Continued from page 5) blacks that white men created to en- fiddle and banjo in the standard min- and nineteenth-century Appalachia tertain other white men. The supposi- strel quartet, the hammer dulcimer due to its isolation from mainstream tion that the early minstrel theatre was was sometimes used in minstrelsy American culture. As has been modeled on improvised slave enter- with banjo and bones. It has also been tainments is credible but not yet pointed out earlier, the Appalachian present in Appalachia since the eight- proven. Mountains were populated primarily The above quotes by prominent eenth century and used in combination by the illiterate lower classes of Brit- musicologists suggest possible ties with various instruments, among them ish society and their descendents. between the music of minstrel per- fiddle, banjo and bones. They tended to avoid urban centers formers, Appalachian musicians and The three musical contexts under where they might face the same prob- black slaves. On closer examination, discussion here also have playing lems encountered in Great Britain and one finds similarities in repertoire, styles in common. The oldest style of settled in remote areas, keeping to instrumentation and playing styles in banjo playing in Appalachia, known themselves. Musical styles I present in the music of these three groups of as "frailing" or "clawhammer" style, the rural South, including Appalachia, people. utilizes the same techniques and did not become widely known by the Musicians in all three contexts achieves the same sounds as early rest of the country until the early mentioned above played many of the minstrel banjo playing. Following is 1920's when the recording industry same tunes; one need not look far to Charles Hamm's description of this stumbled onto them. find an example. "Turkey in the style of banjo playing: There are no chords; the style Despite a lack of indisputable Straw" was the tune most often cited evidence that the bones were a part of consists of melodic elaboration of a by ex-slaves in the narratives col- tune, or patterns of running notes Appalachian instrumental dance mu- lected by the W.P.A. in the 1930's, sic in the seventeenth, eighteenth and acting as an accompaniment to a Charles Hamm points out the use of melody played by a fiddle, sung by nineteenth centuries, the use of bones the same tune by minstrels and Appa- the banjo player, or played on the in the performance of Appalachian lachian musicians: banjo itself. dance music today suggests otherwise. Recent research has identified The fiddle in both Appalachia and Tunes found in Appalachia include most of these tunes [i.e., minstrel in the context of minstrelsy was those that are pentatonic or modal in tunes] as coming from oral-tradition played in a style similar to the banjo character and imply a non-harmonic Anglo American music [i.e., that style described by Hamm above. As style. Less common are hornpipes, which is found among musicians in with the banjo, techniques used by reels, and jigs, whose melodic outlines Appalachia]; "Zip Coon," for in- stance, was sung by both Farrell and fiddlers in both traditions were quite clearly imply ties with common- similar and produced the same type of practice harmonic style. Both types of Dixon 1n 1834 to one of the most venerable of all Anglo-American sound: the upper strings were used to tunes are of British origin and have melodies, best known in the present play the melody while the lower been performed in Appalachia since century as "Turkey in the Straw. strings acted as drones. British immigrants settled there. To- While many early m1nstrel tunes Pinpointing the playing styles of day both types of tunes are ~ per- had Anglo-American roots, later per- black musicians is more difficult to do formed on the fiddle and/or banjo, or formers used songs composed explic- than for the other two musical con- in combination with one or more of itly for minstrelsy such as Stephen texts already discussed, but may still the following instruments: guitar, Foster's "Old Folks at Home" and Dan be done with a certain degree of suc- hammer dulcimer, bones, and string Emmett's "Dixie. Both types of tunes cess. By the end of the seventeenth bass. The fiddle and bones are still have been recovered from Appalach- century, black fiddlers commonly commonly used in the British Isles for la1 and were also known by southern played for the entertainment of both the performance of the same basic blacks in the mid-nineteenth century. whites and blacks. Dances included repertoire found in Appalachia today. The instrumentation used by European dances associated with the It is evident that the music of black musicians, minstrel performers cultured classes--the minuet, waltz black slaves, minstrel performers and and Appalachian musicians also had and cotillion--as well as "country Appalachian musicians have some- something in common--the use of dances" done to music adapted from thing in common: bones with fiddle and sometimes that of Great Britain's lower classes. The similarities between the early banjo. The earliest references to This same class of people included m1nstrel song and some of the oral- blacks playing bones are from the mid immigrants who settled in Appalachia. tradition music of the southern Appa- lachians are so numerous and striking -nineteenth century. The bones were Thus black slaves in the New World as to be unquestionable. Less clear is probably played with fiddle in Appa- knew some of the same tunes as did the sequence of events: whether the lachia as early as the seventeenth cen- British immigrants in the Appalachi- minstrel song was the progenitor of tury when British immigrants settled ans. Although no documentation ex- this sort of "mountain music," or vice there. When the banjo reached Appa- ists, one can reasonably assume that versa; and just when the banjo passed lachia in the nineteenth century, it was the tunes blacks were taught to play, from black Amer1can to white. often used with the bones-fiddle com- at the very least, slightly resembled The bones, triangle, and tambou- bination. the playing style of Great Britain's rine were part of the caricature of In addition to the use of bones, lower classes, where the music origi-

6 nated. (Chieftains and Bones—Continued from page 1) professional bodhrán and bones There is little documentation on with each others from playing to- player. His compelling motor rhythms the banjo style of black slaves. Yet gether in Seán Ó Ríada's folk orches- added great drive and color to the one may reasonably assume that it had tra, Ceoltóirí Cualann, and from vari- Chieftain‘s sound and his influence as elements in common with the banjo ous sessions in and around Dublin a bodhrán player is unmatched to this styles of Appalachian musicians and since the late 1950s. The album re- day. His one-handed style of bones minstrel performers since the banjo flected a new approach to playing playing is heard to great musical ef- was first brought to America by Afri- traditional Irish music through inter- fect on the Chieftains early albums. can slaves. Initially, any contact pretation and arrangement. An album During these early recordings, the whites had with the banjo would have featuring just instruments playing bones were often used as a punctua- been through contact with black music was considered a rarity in the tion point to the music, as they at- slaves. 1960's. tempted to create a musical atmos- The presence of common factors I caught up with Paddy as he fin- phere. ―the bones had a sensual among the music of Appalachian mu- ished lunch on a bright, and beautiful sound‖ Paddy described, ―an eerie sort sicians, southern blacks and minstrel (at least in New England) Labor Day of feeling‖ like during the Battle of musicians suggests interaction among afternoon. He graciously agreed to Aurghim on Chieftains 4, or on the three groups. Although all groups reminisce about the bones and his counter point on the Morning Dew on experienced change due to interaction musical journey. the same recording. Paddy remembers with each other, the traditions associ- Paddy‘s earliest memories of the Peadar as being able to play bones ated with southern blacks and Appala- bones were as a child, ―I must have with both hands, quite an aberration in chian musicians had been in existence been 8 or 9, we used to make them out Ireland, although on recordings he long before the birth of minstrelsy. An of slate, find two that went together.‖ would always play with one hand. examination of southern black and He does remember seeing them Bonaparte's Retreat, a musical re- Appalachian traditions reveals what played in early films, but not at ses- telling of Napoleon, effectively uses musical resources were present in sions. Paddy was drawn to percussion the bones as a counter point to the each tradition, and suggests what instruments, and remembers ―an old bodhrán, similar to Paddy‘s use on the components of these two traditions character playing two spoons on a tin Morning Dew. This recording re- might have been borrowed by min- milk can‖, and, later, when he was ceived much acclaim, and Paddy has strelsy. about 13 he played the drums. recently completed an Orchestral ver- Black musicians in the South had Ronnie McShane was the first bone sion which is slated for performance access to the banjo (from Africa), the player he played in a group with, and in several venues. fiddle (from Europe), and music he remembers Ronnie as a ―very good Martin Fay took over bone playing brought from both continents. Beth bone player‖. Ronnie played both in duties with the band from Chieftains 7 Lenz. Copyright by Beth Lenz, 1989. Ceoltori Cullenann, and later with the until his retirement in 2002. Used with permission. Chieftains on ―5‖ and Bonnepart's Martin was born in Dublin in 1938. Retreat. Ronnie toured Australia with He played classical violin but was the Chieftains, ―He was a very funny always drawn to traditional music. He guy, quite a character‖ Paddy remem- played in Sean O Riada‘s Celotoiri bers. [See Volume 7, Number 1 for a Cualann orchestra and became a Bones Fest XII more complete article on Ronnie.] founding member of the Chieftains. I Peadar Mercier was the first bones plan to research and write a more October 17-19, 2008 and bodhran player with the Chief- complete article on Martin and his tains, recording #‘s 2-5 with the bones playing for a future issue. St. Louis, MO group, and the ground breaking re- Paddy said ―he was a very good cording ―Tin Whistles‖ with both bone player, and he still is.‖ He de- Paddy, and Sean Potts. scribes his playing as very precise. Host: Spike Bones Peadar was born in Cork, Ireland in Paddy relates liking the sound of 1914, and did not begin to play the the bones and feels they are particu- Co-Host: Scott Miller bodhran and bones until the 1950s. larly good for creating atmosphere in His son, Mel Mercier, said, the music. He related being particu- Registration Form Included ―Unfortunately, we don't know how larly impressed with Mel Mercier‘s in this Newsletter my dad started playing the bones.‖ work with the bones and how he has He was invited by the composer, really, ―gone to town‖ in his develop- Sean O Riada to join his m folk or- ment and use of the bones. He does Contact Spike at chestra music ensemble, Ceoltoiri want to use the bones in the future, 773-787-7778 or Chualainn, in the early 1960s. In 1966 and sees a place where this percussion [email protected] he joined The Chieftains. He per- instrument can continue to flavor and for more information formed and recorded with the group enhance traditional Irish music. Steve until 1976, becoming the first ever Brown

7 Bernie Worrell in the left photo and Sharon Mescher in the right photo from the Meshcer Trio teach one of two Bones Workshops at the National Traditional Country Music Festival. Also in the left The Chieftains 5 CD showing their instruments. photograph on the right is Kenny Myers who won the 2008 Bones and Spoons Contest. See story on The rhythm bones in the lower left were Peadar Page ????????. Photographs by Magdalene Biesanz and courtesy of the Le Mars Daily Sentinel. Mercier‘s and were passed to his son, Mel. CD produced by Shanachie Records Corp. Martin Fay Photograph by Angus Forbes. Recorded Bones Music Chieftains 5 [1975] Peadar Mercier, Index to Chieftain Ronnie McShane The Chieftains in China [1985] Chieftains 6—Bonapate's Retreat Martin Fay Albums with Bones [1977] Ronnie McShane James Galway & The Chieftains in Chieftains 7 - [1977] Martin Fay, Ireland - [1987] Martin Fay Below is a list of Chieftains albums Sean Potts Celtic Wedding [1987] Martin Fay with the names of the rhythm bones Chieftains 8 - [1978] Martin Fay Irish Heartbeat [1988] Martin Fay players. It is not a comprehensive list Chieftains 9: Boil the Breakfast Early Reel Music: The Film Scores [1991] as we could not find all of their al- [1979] Martin Fay Martin Fay bums to preview. Chieftains 10 - Cotton-Eyed Joe Another Country [1992] Martin Fay Chieftains 2 [1969] Peadar Mercier [1981] Martin Fay The Essential Chieftains [2006] Chieftains 3 [1973] Peadar Mercier The Year of the French [1982] Martin Martin Fay, Sean Potts Chieftains 4 [1974] Peadar Mercier, Fay Rhythm Bones Society

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