I really like this, it is almost classical in this elegant arrangement. The sound and feel of the sustained accordion is perfect.
P.S. a review http://www.mudcat.org/thread_pf.cfm?threadid=25230
Gibson A Jr.
The William Tell Overture merged with the theme from Leave it to Beaver and My Maggie! Gotta love it. There's a certain irony, Mandolirius, to hear you owning up to such outside musical tastes on the "old-timey" forum. Why do I doubt that you'd encounter a discussion of such music on either the rock or the jazz forum.
Reminds me of a song I am now producing. It is, recognizably, the inspired hornpipe, "Rights of Man", and with a rather traditionally performed mandolin lead. But it's three minute length also includes two choruses of a T Monk-inspired piano solo, and a prelude that features the very big sound of the Antarctic Ross Ice sheet splitting apart.
Maybe we should rename this forum: old timey + post avant garde.
Here's a live recording of my old band of a variant of the jig Off She Goes converted to a Latin rhythms. Not the best recording however... sorry about that.
Of all the trades a going, sure the begging is the best
For when a man is tired he can sit him down and rest
He can beg for his dinner, he has nothing else to do
But to slip around the corner with his old rigadoo
After hearing Mandolirium play the tune one gets re-interested in the tune. It's not just funky different or old made modern, its hey listen to that, where did that come from.
Jeff, can we agree that the main point in your statement comparing the Streisand to the St Ann Bosanova, is that you personally like the Streisand, and personally don't like the SA bosanova
Its great that you think the Streisand is great. It's not my thing. I have never heard a recording of the St Ann Bosanova. It might be great.
Oh it might very well be great. I am into it. But cooler yet is if addition to being great it brought out something inherent in St. Anne's Reel that we all miss when we diss the tune at a jam. Thats all I'm saying.I have never heard a recording of the St Ann Bosanova. It might be great.
Now you got me thinking. I love playing St Ann's Reel, usually as the second of three tunes in one set. Actually, it was the first tune i ever learning as a grouping. It was very easy to learn, whether it followed another reel or a jig, because the beginning of the A part is played with a 6-times repeating double-stop: 0520. [bang, bang, bang) X 2]. All I ever needed to think about to make that transition was to bang out that double stop as if it was the beginning to "Dust My Broom" by Elmore James. So easy to do. And the dancers always love it whenever our band can bring such a push to any song transition. This transition is the king of emphatic.
As all contra dance musicians soon learn, some transitions can be a burden to learn correctly. This one was learned in a minute.
Now, of course, when you listen to any proper recording of that tune, no one plays it that way. When the song is being performed by itself, to add that Elmore James beginning, displays little finesse, no grace. Nor do I play it that way, whenever I play it by itself at a dance, or in a performance.
I mention this in regards to your original question. In this case, in some situations, when you destroy a tune's implicit subtlety, you may bring down the house at a contra dance.
Jim, you're playing that Em double stop as two blues triplets (DDD..DDD), Right?
Whoops. I made not just one, but two mistakes.
1. I meant to write 0052. I play it as a D double stop comprised of the 1 (D) and its 3rd (F#). It's one of my most often used fingerings for old time tunes. And yes, the same double stop could also serve for the relative minor, in this case Bm.
2. I only bang it out 4 times. Then I hit single notes (starting with the high E) down the scale to establish the melody.
Now you hit on an essential view, hotly argued among the musicians where I live. I take the optimistic point of view that it is the actual quality of the musicianship that prompts the dancers to listen to the music or only to the beat. When the music is good, and especially when the musicians are playing off the dancers, that the whole room seems to light up and the building itself can be seen lifting from its foundation. Seeking that status, I have been the squeaky wheel in my band to upgrade our sound system so that the nuances we work out in rehearsal even get heard. Others argue, just as forcefully, that these efforts are for nought, because all that noisy broadband stomping around by dancers kills every nuance and leaves nothing whole but the one beat played by the bass.I wonder if the dancers are even listening to the tune at all, or just following the rhythm.
Great Idea and thread Jeff. I stumbled upon your thread after listening to rene demo his 1921 A3 in the classifieds and both are very inspiring. I'm reminded that what I'm looking for is here, I'm just looking in the wrong places.
Inexperienced dancers, OTOH, can more easily get distracted by the melody, and hang on tight to the beat as they work out their place in the whole thing.
I noticed this when I played a dance where we had a beginners contra, before the regular dance, with extra training and patience, because the regular dance was attended by so many experienced dancers that the beginners were getting intimidated. What I learned was that you can't, shouldn't, use the same music for each. A dance with a lot of beginners needs to have music that is a bit more predictable, straight forward, but fun. Experienced dancers like a lot more fun, switch ups, sweeping melodies, cool flingie transistions, etc.
What the musicians might want is quite irrelevant. Ahh, but that is nothing new.
Good observations Jeff. Out West, seems the practice is to hold beginning instruction the first 1/2 hour...the more experienced dancers show up later. Our band's first set is usually a polka set--very regular structure and pulse.
The only dances where beginners and old pros alike appreciate the same thing about a tune is the waltz. A beautiful waltz is appreciated by everyone.
Applying my challenge applied to waltzes might create something still playable and appreciated at a dance.
To make a war horse waltz new again, I go and get the lyrics. And in my playing, I try and really bring out what the song is about. If there are no lyrics, I will grab any hint or intuition I have, and over emphasize it. I try and make the waltz about something. Make it about one great thing.
This was posted elsewhere but I linked here because it is a FANTASTIC example of what I am talking about. New life breathed into an old warhorse.
Without an excurstion into the wierd or outlandish, or crossing the boundaries of the genre, or even scaring the neighbors.
What is wonderful about this is that the tune still does the work. The integrity of the tune itself, now with lyrics, is the engine here, the motion. And knowing the tune intimately (having played it 984092347534985 times), one can feel some kind of "home" in the tune itself, which links with the theme of the song.
This is brilliant on many levels.