Bounding Main Beautiful Harmonies with a Maritime Flair Vocalists Dean Calin, Christie Dalby, Gina Dalby, Jon Krivitzky, David Yondorf

Total Page:16

File Type:pdf, Size:1020Kb

Bounding Main Beautiful Harmonies with a Maritime Flair Vocalists Dean Calin, Christie Dalby, Gina Dalby, Jon Krivitzky, David Yondorf Bounding Main Beautiful Harmonies with a Maritime Flair Vocalists Dean Calin, Christie Dalby, Gina Dalby, Jon Krivitzky, David Yondorf Bounding Main is a vocal group that sings richly harmonic versions of traditional maritime songs. Their shows are fi lled with spirit, humor and harmony and their arrangements of traditional nautical music bring the listener into the world of fellowship, adventure and romance. The group, founded in 2003, has performed all over the United States and Europe and their music is sold internationally through Spotify, Apple Music, Amazon, CDBaby, and other music portals. Quotes “One of the best a capella albums I have ever heard. I kid you not, there were several occasions when I was covered in goose bumps from the sheer marvelousness of Music for Film & Video the sounds emanating from my speakers.” About Going Flotsam, British Film Institute, Noel Goodwin Overboard - Bonnie Griner, Celtophilia.com. The Polar Sea, TVO & arte, Primitive Entertainment “Treasure” Exhibit, NRG!’s traveling museum exhibit. “The layered and very polished sound is enthusiastic and energetic.” About Lost at Sea - Susan Hartman, Dirty Linen Magazine Performances Int’l Folk & Shanty Festival, Netherlands Falmouth Int’l Sea Shanty Festival, Cornwall, UK “Sea shanties mingle with originals and forays into barbershop harmony and sweet swing for a fulsome Papenburg Harbor Festival, Germany sound. The three guys and two gals of Bounding Main Festival du Chants de Marin de Paimpol, France have the chops to sell their schtick.” About Kraken Up - Fête des Chants de Marins, Saint-Jean-Port-Joli, Quebec Jamie Lee Rake, Shepherd Express. Bie Daip Festival, Appingedam, Netherlands Shanties Festival, Krakow, Poland “It’s listenable, unique and fun.” About Lost at Sea - Festival Maritim, Bremen, Germany Avery Comarow, US News & World Report. Lierliet Festival, Workum, Netherlands Discography Landstuhl Regional Medical Center, Germany Fish Out of Water, 2016 National Geographic Real Pirates Exhibit at Kraken Up, 2011 Milwaukee Public Museum Operation Share the Shanties, 2008 Tall Ships Chicago Going Overboard, 2008 Green Bay Tall Ships Lost at Sea, 2005 Pirates Exhibit at the Door County Maritime Museum Maiden Voyage, 2004 Wisconsin Maritime Museum Radio Appearances Port Washington Maritime Heritage Festival Armed Forces Radio (Germany) Chicago Maritime Festival Simply Folk (WPR) Oshkosh Public Museum Pirates Exhibit Bordel de Mer (Canada) Door County Maritime Museum Wooden Boat Show Trossen Los on Radio Ridderkerk (Netherlands) Bristol Renaissance Faire Radio Bremen (Germany) Kenosha Days of Discovery Tall Ships Festival Folk Festival, WDCB Public Radio Lake Eff ect, Wisconsin Public Radio St. Louis Pirate Festival Higher Ground, Wisconsin Public Radio Great Lakes Naval Base Barnes & Noble CD Release Air Play Many other corporate, public and private events WFMT’s Midnight Special Shanties bij de Vleet (Netherlands) Het Zeegat Uit (Netherlands) Contact Salty Dog Radio Dean Calin Bilgemunkey Radio Ph: 262-366-8591, [email protected] Celtic Radio Website: http://www.boundingmain.com.
Recommended publications
  • The Timelessness of the King's Busketeers: a Splash Into Sea
    The Timelessness of The King’s Busketeers: A splash into sea shanties Sea Shanties are typically not my preferred listening, but my recent research into the genre as a whole has yielded some fascinating results. Long before TikTok made it trending, The King’s Busketeers – Joshua Gannon-Salomon, Andrew Prete, and Sam Atwood – were continuing the traditions of many sailors before them hundreds of years in the making. The King’s Busketeers are carrying these traditions forward with their traditional, yet updated sound. Joshua provided a bit of additional context for their work: “One thing the sea shanty trend has demonstrated clearly, is that folk music is not a genre but a process. Shantymen in the days of sail were constantly rehashing old songs into new, taking inspiration anywhere a good rhythm for hauling or working the capstan could be found.” Joshua spoke of the interesting time of history we’re in that mirrors the old world into which the shanty genre was born: “Many articles have pointed out interesting parallels between modern shanty fans under pandemic conditions and the confined, monotonous, overworked and precarious lives of the sailors who sang them. We have comforts they never dreamed of, and their work was intensely social rather than isolated, but suddenly many more people feel solidarity with the sailors of old, their exploitation at the hands of captains and empires, and their lust for life in spite of it. If COVID-19 is today’s stormy voyage, then our visions of post-pandemic celebration parallel the sailors’ dreams of the bars and bawdy houses in the next port.” That might be why shanties are having the cultural moment that they are.
    [Show full text]
  • Sound Recording in the British Folk Revival: Ideology, Discourse and Practice, 1950–1975
    Sound recording in the British folk revival: ideology, discourse and practice, 1950–1975 Matthew Ord Submitted in fulfilment of the degree of PhD International Centre for Music Studies Newcastle University March 2017 Abstract Although recent work in record production studies has advanced scholarly understandings of the contribution of sound recording to musical and social meaning, folk revival scholarship in Britain has yet to benefit from these insights. The revival’s recording practice took in a range of approaches and contexts including radio documentary, commercial studio productions and amateur field recordings. This thesis considers how these practices were mediated by revivalist beliefs and values, how recording was represented in revivalist discourse, and how its semiotic resources were incorporated into multimodal discourses about music, technology and traditional culture. Chapters 1 and 2 consider the role of recording in revivalist constructions of traditional culture and working class communities, contrasting the documentary realism of Topic’s single-mic field recordings with the consciously avant-garde style of the BBC’s Radio Ballads. The remaining three chapters explore how the sound of recorded folk was shaped by a mutually constitutive dialogue with popular music, with recordings constructing traditional performance as an authentic social practice in opposition to an Americanised studio sound equated with commercial/technological mediation. As the discourse of progressive rock elevated recording to an art practice associated with the global counterculture, however, opportunities arose for the incorporation of rock studio techniques in the interpretation of traditional song in the hybrid genre of folk-rock. Changes in studio practice and technical experiments with the semiotics of recorded sound experiments form the subject of the final two chapters.
    [Show full text]
  • Unit Will Provide a Way to Connect Science Through Aquatic Organisms and Human Endeavors, Historically and Musically
    Songs of the Sea, Above and Below Laurie Bailey Introduction Sea shanties are a part of our musical and nautical history. Shanties provided a strong beat for sailors to work in unison. They described the adventures and trials of sailors and entertained sailors who sailed the seas for up to four years at a time. Shanties tend to be “catchy” and therefore easily learned. In addition, they were written in prose easily understood by those with little education1. To our benefit, shanties provide a type of historical record of sea life in the 18th and 19th centuries. Shanties usually have many verses but almost always include a chorus when all the sailors can sing together. I think this will be a useful tool to help my students participate in singing the shanties. Discussing whales and their communication skills will be a great way to talk to my students about how singing is a way of communication for them and for humans. This unit will provide a way to connect science through aquatic organisms and human endeavors, historically and musically. Rationale Castle Hills Elementary School, located on Moores Lane in New Castle, Delaware, is a school for students in Kindergarten through fifth grade. Enrollment during the school year 2014-2015 was 658. Slightly over one third of the population is African American. Slightly under one third is white and 26% of the students are Hispanic. Just over half of the student population is considered to be Low Income with about 17% who speak another language at home. Fewer than 10% of the students have special needs.2 As I write this paper, this is to be my fourth week at the school, having been reassigned from a school with a population of students with severe physical and cognitive disabilities.
    [Show full text]
  • INTRODUCTION the Arrangements
    5 INTRODUCTION Welcome to The Language of Folk 1. This book is meant as an introduction to the world of folk song and is no more than a drop in the ocean in terms of the range of song types, subject matter, melodies and vocal styles found in folk music. The majority of the songs in this collection have their origins in the British Isles, though one or two come from America or further afield. This book brings together songs from different ages. Many are very old, although in some cases they cannot easily be traced further back than the the folk music revivals of the 1920s or 1950s–60s. Folk song, however, is a living tradition, so this book also includes modern songs that have been assimilated into the folk music tradition in recent years; although not ‘traditional’ in the usual sense, they have been included here because they are fantastic to sing and would happily sit in any folk singer’s repertoire. Musicians and audiences often refer to ‘the folk music community’ when talking about the music in its modern setting. There are thousands of people singing, playing, dancing to and listening to this music, and these people form an active community with shared interests. The music is inclusive, so those new to the folk tradition are encouraged and welcomed. ‘Sing-a-rounds’ and ‘sessions’ are commonplace within the UK and Ireland; these are situations (often in a pub or in someone’s home) where anyone is welcomed to sing and play music together. The intention is to share, not to perform, and they are a fantastic setting in which to try out new songs.
    [Show full text]
  • National Programme Announcement
    NATIONAL PROGRAMME ANNOUNCEMENT Steering our future, inspired by the past. Mayflower400UK.org NATIONAL PROGRAMME ANNOUNCEMENT 400 Years - 400 Moments Mayflower 400: Commemorating Great Britain’s 2020 is the 400th anniversary of the Mayflower’s voyage, connection with the US and Netherlands, bringing one of the most influential journeys in global history and a nations and communities together through an defining moment in the shared history of Britain, the US and the Netherlands. exceptional programme of heritage and modern culture that explores arguably the most influential The international Mayflower Compact Partnership has been journey in western history. created to align 11 core UK partner locations across England, alongside the United States of America, the Native American community and the Netherlands. Partners are united in their “ These pages guide you to over 400 events, performances, passion to commemorate the anniversary and to celebrate exhibitions and trails hosted by twenty-three different shared values of Imagination, Freedom, Humanity and destinations from four nations across two continents. the Future. Together they form an international programme In the build up to and during 2020, partner locations commemorating the 400th anniversary of the voyage of have created an international ‘Mayflower Trail’ and an the Mayflower. Binding these nations together is their accompanying world class cultural programme which will unite shared appreciation of the profound legacy of a voyage communities, inspire creativity, drive economic growth and that changed the world. The story of how 102 ordinary promote understanding. Over 400 ‘moments’, ranging from Englishmen and women, resolute in their commitment to international civic ceremonies to local community events.
    [Show full text]
  • A Unique Recording of "The Leaving of Liverpool"
    0+ t<\1 5ummer/Fall V ~ 2008 E tJ) Webcasts -§i Odetta > \I) ~ :zV t­ V .. 1-> C Th:FS~I:::, i :~ O,:o~~:eb::': ~ C'U'OS from lh' ,'oS'oSofPm",' T,y"" V ¥e J Jd )1 n J J' IJJ JJ ,4,1 J. J }I;OJ j "W' J Dl 7 Now J'mlca-ving Li-vcr-pool, bound ouL for Fris-co Bay""'::::" I'm [cav-ing my sweet-heart be-hind me, but ['II U t W£ J J"Da ] I,LD 1)< J or j"rIJ~JJ IJ ) "J )1 ,LJ 311 come back and mar-ry you some-day_ Oh when I'm far a-waynt sea_ I'll nl-waysthink of you_ and the <l.) 4~' jJ J ;,1]:1 j J )IJ Ji J =1, 1J 0/) II " F' ) J. ~ IJ ) J. Jil t.__fl___ 19 day I'm Icav-ing Li-vcr-pooland the land ingstag!for sea. Sing fare you well, my own true love. when , ... LA E >Iun n I • J I} J J II _.--- F J J J J ~ m,. b" my do< , ling when I thinks of you. o gn"" u= American Folklite Center The Librar~ of Congress Folklife Center News AMERICAN FOLKLIFE CENTER “The LeaVING OF LIVERPOOL” ODETTA AFC WEBCASTS IN THE AFC ARCHIVE 1930-2008 NOW ONLINE BOARD OF TRUSTEES Congressional Appointees: C. Kurt Dewhurst, Chair, Michigan Daniel Botkin, California Mickey Hart, California Dennis Holub, South Dakota William L. Kinney, Jr., South Carolina Charlie Seemann, Nevada Kay Kaufman Shelemay, Massachusetts Librarian Appointees: Jane Beck, Vice-chair, Vermont Maribel Alvarez, Arizona Read about a unique re­ Odetta Holmes Felious AFC has recently made Tom Rankin, North Carolina 15 3 cording of an iconic song, 13 Gordon was a remarkable webcasts available of its Donald Scott, Nevada and the colorful sailor who sang it singer, and a longtime friend of the 2008 public events.
    [Show full text]
  • A Sailor's Life
    A Sailor’s Life Nelson Navy Nation Key Stage 2 Written by Hazel Askew and Martha Burns Findlay A Sailor’s Life Unit 4: Life Below Decks Key Stage 2 Written by Hazel Askew and Martha Burns Findlay Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part The Full English Extra The Full English Extra was an initiative to preserve and promote the folk arts, building on the success of EFDSS’ flagship project The Full English, which created the world’s largest digital archive of folk songs, dances, tunes and customs, and a nationwide learning programme that reached more than 16,000 people. The project was led by the English Folk Dance and Song Society (EFDSS), funded by the Heritage Lottery Fund. The Full English Extra saw the collections of Mary Neal, suffragette, radical arts practitioner and founder of the Esperance Girls Club, and folk dance educator Daisy Caroline Daking added to the Vaughan Williams Memorial Library online archive (www.vwml.org), alongside its collection of 19th century broadside ballads and songsters. The Full English learning programme worked with three national museums – the Museum of English Rural Life at the University of Reading, the National Coal Mining Museum for England near Wakefield in West Yorkshire and the National Maritime Museum in Greenwich, London – combining folk arts and museum education to provide powerful new learning experiences for schools and music hubs. Supported by the National Lottery through the Heritage Lottery Fund Produced by the English Folk Dance and Song Society (EFDSS), May 2016 Written by: Hazel Askew and Martha Burns Findlay Edited by: Frances Watt Copyright © English Folk Dance and Song Society, National Maritime Museum and Hazel Askew, 2016 Permission is granted to make copies of this material for non-commercial educational purposes.
    [Show full text]
  • Music Long Term Curriculum Plan 2019-2020
    Eastfield Primary School - Long Term Plan by subject Eastfield Primary School Music Long Term Curriculum Plan 2019-2020 Eastfield Primary School - Long Term Plan by subject Music The national curriculum for music aims to ensure that all pupils: perform, listen to, review and evaluate music across a range of historical periods, genres, styles and traditions, including the works of the great composers and musicians learn to sing and to use their voices, to create and compose music on their own and with others, have the opportunity to learn a musical instrument, use technology appropriately and have the opportunity to progress to the next level of musical excellence understand and explore how music is created, produced and communicated, including through the inter-related dimensions: pitch, duration, dynamics, tempo, timbre, texture, structure and appropriate musical notations. Key Stage 1 Programme of Study Pupils should be taught to: M1 use their voices expressively and creatively by singing songs and speaking chants and rhymes M2 play tuned and untuned instruments musically M3 listen with concentration and understanding to a range of high-quality live and recorded music M4 experiment with, create, select and combine sounds using the inter-related dimensions of music. Year 1 Autumn Spring Summer Topic: animal kingdoms Christmas Presentation Topic: Toy’s story Topic: pirates Children are to learn about Unit for FS/KS1 Children will learn about different Look at a collection of sea the differences between All children from styles of music; links to topic – learn ‘ shanties. Children to look pulse, rhythm and pitch. FS/KS1 involved in You’ve got a friend in me’ (country at the history of sea Look at The circle of life: learning and style) shanties and children to look at detail of song: performing a 30 minute Use ‘In the groove’ on charanga to use imagination instruments, elements presentation which compare to Blues, Baroque, Latin, throughout topic.
    [Show full text]
  • North of England Residency Teaching Resources
    North of England Residency Teaching Resources www.britishcouncil.org What is World Voice? Over the past five years, World Voice has drawn on leading music education expertise from the UK to support children across the globe to develop their learning, cultural awareness and musicality. Through a blend of teacher training, resources and performances, teachers gain skills to use singing techniques to create a positive learning environment, manage their classrooms and build wellbeing and self-esteem in their pupils. Click on the video to learn more At the same time, the British Council engages with key political and educational stakeholders in each country to co-develop the programme according to local needs. We are thrilled to bring together the talented musicians and educators from overseas with English vocal leaders and music organisations during the North of England Residency 2017. www.britishcouncil.org How to use this resource This is a digital resource for vocal leaders and teachers Clicking on the title of each song will take you to to explore and use in lessons and performances. These the resources page where you’ll find: songs were collected and recorded in collaboration with • Performance and Pronunciation Videos our worldwide partners and were chosen to celebrate the • Lyric Sheets rich musical heritage and languages of the regions in • Scores and Teaching Tracks which we work. • Teaching Resource Packs All songs can be We know our used as a Master Trainers and starting point UK partners will for learning have a wealth of across any music to share and curriculum we can’t wait to subject as well learn new songs, as being a rich hear interpretations source of of songs from our musical and World Voice language Songbook and find learning.
    [Show full text]
  • Home Learning Music Activities KS2 Years 5 & 6
    Home Learning Music Activities KS2 Years 5 & 6 - Spring Term – Week 4 NOTE FOR PARENTS/CARERS We hope you and your children enjoy these activities. Dip in and out, try things out, pick and choose what works for you and your children. You don’t have to attempt them all! Most of all, have fun together. We recommend that YouTube videos are reviewed before children access them as, occasionally, inappropriate comments may be posted after we’ve viewed them. HELLO MUSIC MAESTROS! We live on an amazing planet! Do you like finding out about other countries and the people who live there? Maybe you’re fascinated by nature, by oceans, rivers, deserts or mountains. There’s so much for us to discover about planet Earth! This week we are going to take geography as our theme and explore our world through music. Our bags are packed…off we go! Singing A Scottish postman has recently been in the news. Do you know why? Nathan Evans became famous after he uploaded videos of himself singing sea shanties. His most famous recording so far is ‘Wellerman’. You can hear Nathan Evans singing it here: Nathan Evans - Wellerman (Official Audio) But what is a sea shanty? Sea shanties were songs sung by sailors working on ships. They’ve been around from at least the fifteenth century (the 1400s) right up to the days of steam ships in the first half of the 20th century. Most of the sea shanties we know were first performed in the 1800’s. Two of the main jobs on board sailing ships were raising the halyard (pulling the ropes to hoist the sail) and reefing the sail (making the sail smaller to carry the ship in strong winds).
    [Show full text]
  • Stephen Spender Will Discuss Wo.Rks Ftt Katherine Lee Bates Poet's
    VOL. LVI. WELLESLEY COLLEGE NEWS, MARCH 18, 1948 No. 17 Stage-Struck Girl Stirs Stephen Spender Will Discuss Wo.rks Staid Family in Comedy Joan Youmans Depicts Actress in "Years Ago"; Sophomores Will ftt Katherine Lee Bates Poet's Reading Winkler Cat F eaiured English Poet Is Also "Oh Radcliffe . .. they're all Learn of Maiors Professor and Critic; suffragettes!" cries the hero~ne 1 At So·ciety Teas Leads "New Movement" of Years Ago, the comedy which Barn will presen t March 19 at "This is the great chance for Stephen Spender, young Eng­ 8:30 p.m. and March 20 at 8:00 s9phomores to explore the possi­ lish poet and critic, wql read p.m. Joan Youmans '49 will bilities for a major next year," and discuss his poetry at t:he have the leading role as Ruth, declared Aileen Margolis '48, a Katherine Lee Bates Poetry the stage-struck daughter of a member of the Student Educa­ Reading to be held in Pendleton, strict Massachusetts family. tion Committee who !s heading Hall Friday, March 19, at 4 :40 Ruth's father, Albert Woll of the teas to be held Monday, p.m. "This will be the last Wellesley Hills, is convinced that I!Vfarch 22 ~rom 3 :30 to 6 :00 p.m. chance for m embers of the col· she should become a P hysical m the Soc1_ety_ house~. lege community to hear Mr. Education, instructor. But under- Future Juniors will have a Spender · before he returns to standing Mama, played by Joan c~ance to progress ~II along so­ E ngland n ext year," said Mrs.
    [Show full text]
  • Bb&T Blue Skies and Golden Sands Tour
    BB&T BLUE SKIES AND GOLDEN SANDS TOUR - PROGRAM NOTES Blue Skies and Golden Sands continues a musical journey that embarked at the start of the North Carolina Symphony’s 75th anniversary season in September 2006. A special pops concert called Blue Skies and Red Earth brought the orchestra together with some of North Carolina’s finest folk musicians for a grand celebration of our state’s musical heritage. Blue Skies and Red Earth thrilled audiences with the sheer depth and breadth of homegrown musical traditions that have evolved over centuries. From haunting Cherokee flute music to the propulsive sounds of the fiddle and banjo, from stately spirituals to ecstatic gospel, from earthy blues to sophisticated jazz, the anniversary program showed the Tar Heel state to be a wellspring of musical treasures. Despite having enlisted dozens of guest artists who performed ten or more styles of music, Blue Skies and Red Earth by no means exhausted North Carolina’s musical resources. A few months after the final performance, planning commenced on a follow-up concert to highlight music oriented more to the state’s eastern shores than the rolling hills and mountains to the west. It began with what seemed like a casual question: “What about beach music?" As most Carolinians know, beach music refers to a body of popular songs that provides just the right mood and rhythms for a popular style of swing dancing called the Carolina Shag. Once heavily associated with beach clubs and dance pavilions from Wilmington, North Carolina to Myrtle Beach, South Carolina, shag dancing is performed all over the Southeast nowadays, and many commercial radio stations present the classic beach playlist over the air waves.
    [Show full text]