The Strathspey Project: Honoring Stone and Music

Total Page：16

File Type：pdf, Size：1020Kb

May 10, 2021 THE STRATHSPEY PROJECT: HONORING STONE AND MUSIC The man of May stands very still, watching the children dance away the day- The January Man Derbyshire native Dave Goulder is not only a certied master stone wall craftsman with the Dry Stone Walling Association of Great Britain, but he is also a renowned folk singer and songwriter. Folk legends Christy Moore of the iconic Irish folk music band Planxty and the late Bert Jansch of the equally inuential British folk-jazz band Pentangle covered Goulder's song, January Man. The lyrics personify the months of the year, tying them to the land and changing seasons. Highland Dancers doing a Strathspey To honor both Goulder's craft as a musician and a stonemason along with the Scottish Highlands where he lives, his friends commissioned a tune for his 65th birthday—calling it The Strathspey Project; two stone dancers are the emblem. The Strathspey is a dance style seen in Scottish Country Dancing (social dancing with two or more couples) and the solitary Highland Dancing. The slow, graceful movements originated during the 1700s in the valley (Scottish strath) of the River Spey. Dave Goulder building a dry stone wall. While shapeshifting stone dancers leaping through the air with arms held upright to resemble stag antlers may seem incongruous, the project compares Strathspey's progressive formations to the stonemason building walls and the musician crafting songs. Like interlocking dancers, dry stone walls consist of carefully selected interlocking load-bearing stones that are stable because of their construction method. These sometimes ancient walls etch Great Britain and Ireland’s landscape, as does the memory of a song or dance passed down through the ages. Next Take Ten With Cassie Westbrook © 2019 QuarryHouse Inc. All Rights Reserved. Website: Coupar.

Copy Link

Recommended publications

Rosemary Lane the Pentangle Magazine
Rosemary Lane the pentangle magazine Issue No 12 Summer 1997 Rosemary Lane Editorial... (thanks, but which season? and we'd Seasonal Greetings! rather have had the mag earlier!) o as the summer turns into autumn here we extensive are these re-issues of the Transatlantic are once more with the latest on Pentangle years - with over 30 tracks on each double CD in Rosemary Lane. In what now seems to be that the juxtaposition of the various musical its characteristic mode of production - i.e. long styles is frequently quite startling and often overdue and much anticipated - thanks for the refreshing in reminding you just how broad the reminders! - we nevertheless have some tasty Pentangle repertoire was in both its collective morsels of Pentangular news and music despite and individual manifestations. More on these the fact that all three current recording projects by in news and reviews. Bert and John and Jacqui remain works in progress - (see, Rosemary Lane is not the only venture that runs foul of the limitations of one human being!). there’s a piece this time round from a young Nonetheless Bert has in fact recorded around 15 admirer of Bert’s who tells how he sounds to the or 16 tracks from which to choose material and in ears of a teenage fan of the likes of Morrissey and the interview on page 11 - Been On The Road So Pulp. And while many may be busy re-cycling Long! - he gives a few clues as to what the tracks Pentangle recordings, Peter Noad writes on how are and some intriguing comments on the feel of Jacqui and band have been throwing themselves the album.
[Show full text]
Memories of Nick Drake (1969-70)
Counterculture Studies Volume 2 Issue 1 Article 18 2019 Memories of Nick Drake (1969-70) Ross Grainger [email protected] Follow this and additional works at: https://ro.uow.edu.au/ccs Recommended Citation Grainger, Ross, Memories of Nick Drake (1969-70), Counterculture Studies, 2(1), 2019, 137-150. doi:10.14453/ccs.v2.i1.17 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Memories of Nick Drake (1969-70) Abstract An account of Australian Ross Grainger's meetings with the British singer songwriter guitarist Nick Drake (1948-74) during the period 1969-70, including discussions at London folk clubs. Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License. This journal article is available in Counterculture Studies: https://ro.uow.edu.au/ccs/vol2/iss1/18 Memories of Nick Drake (1969-70) Ross Grainger Nick Drake, 29 April 1969. Photograph: Keith Morris. I first met Nick Drake when I arrived in London after attending the Isle of Wight Pop Festival in 1969, which featured as its curtain-closer a very different Bob Dylan to the one I had seen in Sydney in March 1966. However, on thinking about it, Dylan’s more scaled down eclectic country music approach - which he revealed for the first time - kind of prepared me for what I was about to experience in London. The day after I arrived at my temporary London lodgings with friends living in Warwick Avenue, I went to Les Cousins in Greek Street.
[Show full text]
The Folk Club of Reston-Herndon Preserving the Traditions of Folk Music, Folk Lore, and Gentle Folk Ways Volume 28, Issue 7 July 2012
The Folk Club of Reston-Herndon Preserving the traditions of Folk Music, Folk Lore, and Gentle Folk Ways www.RestonHerndonFolkClub.com Volume 28, Issue 7 July 2012 July 10 Showcase – Scott Malyszka & Friends When I was a spiritual person in my younger days, I loved a good sermon. Now you ask various church people what makes a good sermon, and you'll have trouble getting a lot of agreement. Some people want to hear comfortable, familiar platitudes, and some like loud shouting and stomping around. Others expect the preacher to give a deep academic exposition of a text or topic. I knew one strange guy who would say, "If I don't feel guilty and ashamed after a sermon, then that preacher isn't doing his job." Whoa, yikes! I always felt that a good sermon simply meant telling a good story. When a person could stand in front of an audience and paint stories in their imaginations, well that's what I liked. And when I had the task of delivering a sermon, I tried to put together twenty minutes of good stories. I modeled my sermons on Garrison Keeler and John Steinbeck rather than Billy Graham or Jimmy Swaggart, the most popular preachers back then. After many years as a church person I came to the cynical conclusion that most people go to church to see their friends and to be entertained by the sermon and the music. I'm not a spiritual person now, but I do have a great appreciation for friends, stories, and music. I'm always finding intriguing new melodies from fiddle tunes and songs, and writing my own songs is my way of making up stories today.
[Show full text]
Bert Jansch Moonshine Mp3, Flac, Wma
Bert Jansch Moonshine mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Moonshine Country: UK Released: 2015 Style: Folk Rock, Folk MP3 version RAR size: 1763 mb FLAC version RAR size: 1785 mb WMA version RAR size: 1558 mb Rating: 4.5 Votes: 842 Other Formats: WMA AUD MP3 MP4 MP2 AHX AAC Tracklist Hide Credits Yarrow Arranged By – Bert JanschArranged By [Musical Arrangement] – Tony ViscontiBass [Fender] 1 5:09 – Tony ViscontiDrums – Dave MattacksFlute – Les Quatre Flute A Bec ConsortWritten-By – Traditional Brought With The Rain 2 Double Bass – Danny ThompsonHarmonica – Ralph McTellLyrics By – Bert JanschMusic By – 2:56 Traditional The January Man 3 Arranged By [Musical Arrangement] – Tony ViscontiHarp – Skaila KangaWritten-By – Dave 3:32 Goulder Night Time Blues 4 Double Bass – Danny ThompsonDrums – Laurie Allen*Fiddle – Aly BainWritten-By – Bert 7:14 Jansch Moonshine 5 Bells [Tubular], Arranged By [Musical Arrangement] – Tony ViscontiCello – Marilyn 4:57 SansonClarinet – Thea KingFlute – Richard AdeneyWritten-By – Bert Jansch The First Time Ever I Saw Your Face Double Bass – Danny ThompsonDrums – Dannie RichmondElectric Guitar – Gary BoyleFiddle 6 3:00 – Aly BainRecorder, Harmony Vocals – Tony ViscontiVocals – Mary ViscontiWritten-By – Ewan MacColl Rambleaway 7 Arranged By – Bert JanschDouble Bass – Danny ThompsonDrums – Laurie Allen*Electric 4:36 Guitar – Gary BoyleFiddle – Aly BainWritten-By – Traditional Twa Corbies 8 3:01 Arranged By – Bert JanschWritten-By – Traditional Oh My Father 9 Bass [Fender], Shaker [Magic Bean Shaker] – Tony ViscontiDrums – Laurie Allen*Electric 4:07 Guitar – Gary BoyleWritten-By – Bert Jansch Companies, etc. Phonographic Copyright (p) – Earth Records Copyright (c) – Earth Records Credits Design – Heather Jansch Engineer – John Wood, Victor Gamm* Producer – Danny Thompson Vocals, Acoustic Guitar – Bert Jansch Notes Reissue of the 1973 album.
[Show full text]
Winter 2011-2012
NNootteess The Newsletter of Readifolk Issue 12 Reading's folk song Winter 2011/12 and music club McKinnon & Anne Tarrant and Bob & Gill Berry for giving us Welcome two really enjoyable evenings. But on a sadder note, it was because of serious illness that to another Readifolk Johnny Silvo had to cancel his UK Autumn tour, which included an appearance at Readifolk. Reports indicate that his illness newsletter has now become terminal. Our thoughts are with Johnny and his family as we recall the many happy times shared with him. Rumblings from the Roots Looking forward to the new year, we have already booked Welcome to the Winter edition of Notes. With this edition we many excellent guests. You will see from the previews and the welcome in another New Year and we take this opportunity of listing on the back page that we have several newcomers to wishing you all a very happy and successful 2012. the club in the first quarter. Some of them are wellestablished artists and some are younger performers who we feel are We are delighted with the new format of Notes which Stewart destined for greater things. Do look up their details on their has compiled. As well as several interesting articles and news web sites etc., and you can listen to tracks from all of the items, we include previews of all the forthcoming artists in the artists in a special preview edition of The Readifolk Radio first quarter of the year. It was felt preferable to give previews Show, broadcast on Reading4U, Reading's community radio of artists rather than reviews of past performances, so that you station on www.reading4u.co.uk on Friday 30 December.
[Show full text]
Rosemary Lane 1996-99
Introducing Rosemary Lane 1996-99 hese six editions of Rosemary Lane from T1996-99 cover vibrant years in the post- Pentangle musical projects of Bert Jansch, Jacqui McShee and John Renbourn. Bert married Loren Auerbach, launched his successful come-back album When the Circus Come to Town, brought his own musical circus to town by taking up regular residency with friends at the popular 12- Bar Club in Denmark Street, released a bootleg album from that experience, toured around the world and followed up with the memorable Toy Balloon from the studio. Jacqui put out the first fruits of her collaboration with Gerry Conway and Spencer Cousins in the long-awaited About Thyme album, began work on the follow-up Passe Avant whilst touring Europe and the UK both with her own band and John Renbourn. John himself had started working on arrangements that eventually emerged on the album Traveller’s Prayer, but in the meantime was overtaken by the release of the Lost Sessions album of recordings from the early ‘70’s, whilst touring the US and Europe which also gave rise to the Live in Italy collection. He played with Jacqui, Stefan Grossman, Isaac Guillory, Archie Fisher, Wizz Jones and even teamed up again with Dorris Henderson for some impromptu concerts re-visiting their early 1960’s collaborations. So when you read the magazines now, you will quickly discover they depict three flourishing talents fully- engaged with their music and thrilling audiences wherever they performed. he magazine was despatched to all four corners of the British Isles. TInternationally the most popular continent was Europe headed up by readers in Germany, Italy and Norway with fewer in Belgium, the Netherlands, Denmark, France, the Republic of Ireland, Spain, Portugal and Sweden.
[Show full text]
Phil's Picks - Greatest Albums of All Times
Phil's Picks - Greatest Albums of All Times Forever Changes, Love Village Green Preservation Society, The Kinks Da Capo, Love Rockers motion picture soundtrack Four Sale, Love On the Beach, Neil Young Catch the Wind, Donovan Neil Young, Neil Young Revolver, Beatles After the Gold Rush, Neil Young Rubber Soul, Beatles Covers Record, Cat Power Magical Mystery Tour, Beatles You Are Free, Cat Power Terry Reid, Terry Reid Doolittle, Pixies Laughing Stock, Talk Talk Roman Candle, Elliot Smith Last Laugh, The Brigade The Notorious Byrd Brothers, The Byrds Rosemary Lane, Bert Jansch Fifth Dimension, The Byrds Moonshine, Bert Jansch Songs, Leonard Cohen Nicola/Birthday Blues, Bert Jansch Desire, Bob Dylan Happy Sad, Tim Buckley I Just Can’t Stop It, The English Beat Dream Letter, Tim Buckley Axis: Bold as Love, Jimi Hendrix Five Leaves Left, Nick Drake Tea for the Tillerman, Cat Stevens Bryter Layter, Nick Drake Talking Heads ’77, Talking Heads Pink Moon, Nick Drake Who’s Next? The Who Astral Weeks, Van Morrison English Settlement, XTC Veedon Fleece, Van Morrison Birds of My Neighborhood, Innocence Mission Vaersgo, Kim Larsen We Walked in Song, Innocence Mission The Doors, The Doors Renaissance, The Association Strange Days, The Doors One Nation Underground, Pearls Before Swine The Boy with the Arab Strap, Belle and Sebastian I Retur, Turid .
[Show full text]
The Donovan Concert: Live in Los Angeles (2008): Donovan, Dav
The Donovan Concert: Live in Los Angeles (2008): Donovan, David Ly... http://www.popmatters.com/pm/film/reviews/52892/the-donovan-concert... The Donovan Concert: Live in Los Angeles Director: Armstrong, Doug Cast: Donovan, David Lynch, Astrella Celeste, Mike Love (2008) Rated: Unrated US DVD release date: 22 January 2008 (Raven Productions) UK DVD release date: 8 October 2007 by Gavin Williamson During the mid-’60s Donovan emerged from the Scottish psychedelic-folk scene to international fame. With Brit-pop exports like “What’s Bin Did and What’s Bin Hid ” aka “Catch the Wind”, his music defied generic conventions, bridging rock, pop, blues, folk, and world music styles. This sensibility quickly put him in contact with other movers and shakers including John Renbourn, Bert Jansch, Fairport Convention and The Incredible String Band, in addition to The Rolling Stones’ Brian Jones and The Beatles. In fact, legend has it that it was Donovan who taught George Harrison how to finger pick while he and the Fab Four were studying under the Maharishi Mahesh Yogi in India, a trip that would eventually yield the quintessential hit “Hurdy Gurdy Man”, and Donovan’s proliferating infatuation with meditation. As a result, The Donovan Concert: Live in LA DVD serves as a testament to the singer-song writer’s legacy by revisiting many of the songs that made him an icon including, among others, the two above. The event, which took place at the Kodak Theatre in Los Angeles on January 21, 2007, was sponsored by the cult director David Lynch (Blue Velvet, Mulholland Drive, Lost Highway, Inland Empire), and his Foundation for Consciousness-Based Education and World Peace, an organization that promotes self-improvement and awareness through the Transcendental Meditation techniques of the Maharishi Mahesh Yogi (an organization with which both the director and the musician are both well established).
[Show full text]
The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History
University of Huddersfield Repository Cronin, Reece The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History Original Citation Cronin, Reece (2018) The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34632/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History Reece Cronin A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Music by Research The University of Huddersfield February
[Show full text]
SPRING 2016 Parsonsfield Is a Five-Piece Alt/Folk Band From
PARSONSFIELD BIO- SPRING 2016 Parsonsfield is a five-piece alt/folk band from Northampton, MA that infuses a rowdy, rock-’n’-roll spirit into its bluegrass and folk influences, blowing away any preconception of what you think banjos and mandolins should sound like. Parsonsfield—Chris Freeman (vocals, banjo), Antonio Alcorn (mandolin), Max Shakun (vocals, pump organ, guitar), Harrison Goodale (bass), Erik Hischmann (drums)— has toured steadily since their debut in 2010. In 2013 they recorded their debut album Poor Old Shine(Signature Sounds Recordings), produced by Sam Kassirer (Josh Ritter, Lake Street Dive). The critics were impressed, with David Vescey from the New York Times noting, "I fully expect to hear more from this band as the years go on" and the U.K.'s Maverick Magazine calling it "A blistering energetic debut." During the winter of 2013–14 the band wrote and performed an original score in the acclaimed production of The Heart of Robin Hood at Harvard’s American Repertory Theater, and they will continue the production for a four-month Broadway tryout in Canada in winter 2014–15. They weren't always called Parsonsfield (the band started out as Poor Old Shine, but changed in July 2014). The new name was born of the inspired experiences recording two albums in beautiful, rural Parsonsfield, Maine, at Great North Sound Society, Kassirer's farmhouse studio/retreat. It was there they met current drummer Hischmann, who was working as Kassirer's assistant engineer. "We owe a lot to what happened there," said Freeman of their time at Great North. "Our sound really changed when Erik joined ..
[Show full text]
Bert Jansch Bert and John Mp3, Flac, Wma
Bert Jansch Bert And John mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Bert And John Country: Japan Released: 1973 MP3 version RAR size: 1873 mb FLAC version RAR size: 1114 mb WMA version RAR size: 1391 mb Rating: 4.4 Votes: 716 Other Formats: DXD AU VOC TTA MP3 APE RA Tracklist Hide Credits A1 East Wind 1:22 Piano Tune A2 1:36 Written-By – John Renbourn Goodbye Pork Pie Hat A3 3:47 Written-By – Charles Mingus Soho A4 2:56 Written-By – Bert Jansch A5 Tic-Tocative 1:53 A6 Orlando 1:37 B1 Red's Favorite 1:31 B2 No Exit 1:22 B3 Along The Way 1:59 The Time Has Come B4 2:49 Written-By – Ann Briggs* B5 Stepping Stones 2:40 B6 After The Dance 2:23 Companies, etc. Manufactured By – Toshiba EMI Ltd Credits Engineer – Bill Leader Guitar – Bert Jansch, John Renbourn Written-By – Bert Jansch, John Renbourn Other versions Category Artist Title (Format) Label Category Country Year Bert Jansch & John Bert Jansch & Transatlantic TRA 144 Renbourn - Bert And TRA 144 UK 1966 John Renbourn Records John (LP, Album) Bert Jansch & John Bert Jansch & Renbourn - Bert And CMRCD203 Castle Music CMRCD203 UK 2001 John Renbourn John (CD, Album, RE, RM) Bert Jansch & John Bert Jansch & Renbourn - Bert And CMRCD203 Castle Music CMRCD203 UK Unknown John Renbourn John (CD, Album, RE, RM, RP) Bert Jansch & John Bert Jansch & VMD 6506 Renbourn - Stepping Vanguard VMD 6506 US Unknown John Renbourn Stones (CD, Album) Bert Jansch & John Bert Jansch & Renbourn - Bert And Transatlantic TRA 144 TRA 144 Japan 2005 John Renbourn John (CD, Album, Records pap) Related Music albums to Bert And John by Bert Jansch John Renbourn - So Clear Various - Classic Folk Guitar Various - The Best Of Folk-Music Bert Jansch - Heartbreak Bert Jansch & John Renbourn - Stepping Stones Bert Jansch Conundrum - Thirteen Down Bert Jansch - Jack Orion John Renbourn & Wizz Jones - Joint Control John Renbourn - John Renbourn The Pentangle - Basket Of Light.
[Show full text]
Fingerstyle Guitar Solos
Fingerstyle Guitar Solos from the playing of DaveyGraham, Blind Blake, Stefan Grossman Bert Janschand John Renbourn using standardtuning transcribed by Peter Billam and some pieces by Peter Billam ©Peter J Billam, 2017 This score is offered under the Creative Commons Attribution 4.0 International licence; see creativecommons.org This edition 7 September 2021. www.pjb.com.au Finger-style Folk-guitar Instrumentals These scores are something I always wished I had when I was fingerpicking steel-strung guitars in the the folk clubs of London in the late 1960s. Included are instrumentals for solo guitar,all in standard tuning, including a couple of my own, but mostly from the early albums of Davey Graham, Stefan Grossman, Bert Jansch and John Renbourn. Everyone trying to play the folk guitar must own those albums ! not to mention those by Al Stewart, John Martyn, RoyHarper,Dando Shaft, the Incredible String Band . it was a moment of great creative flowering. Theyplayed often with a Capo on second or third fret, and mostly in triplet-rhythm, which I have notated in 12/16 and 9/16 to makethe beats clearer by grouping them under the same beam. An ascii-tab tablature edition of these pieces is also available. Davey Graham was playing jazz standards - tune, chords and bass - just as a piano trio could. And not so much by brute virtuosity,asbyintelligence: by letting the arrangement growout from the guitar.Just consult Cry Me a River on youtube to see hownaturally the playing lies on Davey’s six strings. Blind Blake, star of Piedmont blues, recorded more than 100 sides in Chicago in 1927-1932, and was one of the great influences on Gary Davis.
[Show full text]