Angus Chisolm. CChisolm to Cy's Clan. Angus. Chisolm. The Early Recordings of Angus Chisolm. Scottish Fiddling, Shanachie Records 1. Angus Chisholm, fiddle; Maybelle Chisholm. Bess Sidall Mac. Donald, piano; Elizabeth Mellett, piano. Mc. Intyre, guitar. Produced by Richard Nevins & Daniel Michael. Collins; Jacket art and design by Robert Burger; Remastering. Richard Nevins, 1. Tracks: Newcastle / President Grant; Medley. Inverness Jigs; Mrs Murray / The 1. Pound Fiddle / The Baker; Miss Lyall. Brother's Letter; Miss Minnie Foster / Fred Wilson's Clog; Glengarry's. Dirk / Bonnie Lass of Fisherow / The Bird's Nest; Rothermurches Rant /. Braes of Auchertyre / Braes of Glencoe; Moonlight Clog / Hennessey's Hornpipe. Miss Cambell's / Jordie Jig; Lochaber Gathering / Bob Johnson's March &. Reel; Tea Gardens / Mrs Mc. Negozio di Musica Digitale su Amazon.it La Musica . Da quando eravamo bambini fino alla nostra adolescenza, la Musica Oliver Schroer The Traverston Band: Swingin' The Night Away, Jump Start Records - JM 8386 - 1983 (Not Strictly a Fiddle Album) Oliver Schroer, fiddle, lead guitar, vocal, percussion; Jim Ryan: vocals, rhythm guitar, mandolin, percussion; Thelmo Black: vocals, piano; Ian Fowler. The largest list of Celtic/Irish bands and musicians on the web. Welcome to The Bands, Musicians and Entertainers page. Get information, facts, and pictures about Ireland at Encyclopedia.com. Make research projects and school reports about Ireland easy with credible articles from our FREE, online encyclopedia and dictionary. Gee; Irish Hornpipe / Marguerite Mc. Neill / Joan. Mc. Donald. This album consists of all the commercial. Angus Chisholm, the finest exponent of traditional Scottish. His playing is defined by the exciting perfection. And more, it is esteemed now around the world for its artistry and. Richard Nevins. Many thanks for their help to: Catherine Potter. Leo Sullivan, Angus Chisholm, Lauchena Chisholm, Gabe Arsenault, Florence. La Forte, and Eugene Frain. Side A1) Newcastle / President Grant - - These are two. American hornpipes from Coles 1. Fiddle Tunes (originally Ryan's Mammouth. Collection published in the 1. At the time they were recorded. Angus had a radio program in Sydney, Cape Breton, which went on for several. Those were the times that he was playing for hundreds of Cape Breton. Medley of Inverness Jigs - - Angus' unique, highly. Montreal shortly after his first session. Angus went up there with A. A. Campbell, well known Inverness County, Cape. Breton fiddlers. Strathspeys are the most distinctively. Scotland and are highly regarded there, and in Cape Breton. The second and third. Scott Skinner's. Scottish. Violinist. 4) Miss Lyall / Brother's Letter - - A grand performance! My Brother's Letter is in the Mac. Quarrie Collection. Cape Breton violin music, and was composed by Vincent Mac. Lellan. 5) Miss Minnie Foster / Fred Wilson's Clog - - Both. Coles. Fred Wilson's was a popular tune around Margaree. Angus was born in Margaree Forks). This track was recorded in Boston. Roxbury), where Angus also played regularly on the radio. He also played. for dances at O'Connell Hall, solo and with Alec Gillis and. Sligo weekender week 22 . Easily share your publications and get them in front of Issuu’s millions of monthly readers. Inverness Serenaders. Glengarry's Dirk / Bonnie Lass of Fisherow /. Bird's Nest - - This beautiful, utterly unforgettable performance was recorded. Montreal. The first two tunes are Scots pieces. Both Angus' parents. Gaelic speakers. He remembers his mother singing a song in Gaelic. Bird's Nest, and he learned the tune from her. Side B1) Rothermurches Rant / Braes of Auchertyre / Braes. Glencoe - - This track was recorded at Angus's first session which too. Roxbury. Angus does not remember hearing anyone play Rothermurches. Rant and he learned it from the music. Both this and the second tune are. Kerr's violin collection. Moonlight Clog / Hennessey's Hornpipe - - Angus. Both tunes are in Coles. During this period of his. Arctic. 3) Miss Cambell's / Jordie Jig - - These two jigs. Angus' last session (as were the next three tracks) in. Sydney in the early fifties. The accompaniment for this session was provided. Angus' niece Maybelle Chisholm (Doyle) on piano and Mickey. Mc. Intyre on guitar (all of side one features Bess Sidall Mac. Donald. piano, and the first two tracks of this side feature Elizabeth Mellett). Lochaber Gathering / Bob Johnson's March &. Reel - - Angus remembers that he and Maybelle had to drive from Margaree. Sydney. The normal hour. Tea Gardens / Mrs Mc. Gee - - Angus found Mrs Mc. Gee. in the almost legendary Sky Collection, a very influential 1. Century. compilation. Tea Gardens was composed by Angus as he was waiting for a. Chinese place by that name in Sydney; he wrote down enough. The second and third tunes are Cape Breton. Reels. Rodeo Records Salute to Sydney Cape. Breton Island on its 1. Anniversary, Banff Rodeo RBS 1. See Compilations. The Fiddlers of Cape Breton. Celtic SCS 5. 7 (Compatible Sterio)See Compilations. Clergy. Glendale . Ses instruments principaux sont. Because this. area lies relatively close to the Quebec border, . Jim loved this music from an early age, and hearing. One of his idols was the late Isadore. Soucy, whose famous lilting style became synonymous with Quebec fiddling. I trust you will enjoy. Is is always a pleasure working with fine musicians. Art Covey, Bill Donaldson, Gerald Hamilton, James Bickle and Gerry. Smith. Even though Shane is only fourteen, he already. He has finished first over fifty times in. Junior Category. at Shelburne, he finished 2nd in the Championship class in Dartmouth. Nova Scotia at the Maritimes Championship. In 1. 99. 5 and at Canada's. Pembroke, Ontario, Shane. Canada. Even more remarkable is the fact that this was the. Pembroke, including 9. Shane not only enjoys playing Canadian old time. Irish, Scottish and. Cape Breton style much to the delight of the . Of course Kyle, Shane's ten year old. Kyle's version of Ward. Allen's'Old Box Stove' would have made Ward very happy. I would like to thank my parents for their support. Also Gerald Hamilton. Joe. Cormier. The Dances Down Home, Rounder. Records 7. 00. 4, 1. Joe Cormier, fiddle; Edward Irwin. Edmond Boudreau, bass. Produced by Mark Wilson; Recorded at Waltham. Massachusetts 1. 97. Tracks: Mac. Donald. Despite the extreme privations and hardships. Nova Scotian pioneers suffered, somehow the vital linkage with the. Unlike virtually every other Scottish. United States or Canada, the Cape Breton community. In fact, the. Scots musical dominance is so marked on the island that a violinist like. Joe Cormier, born and raised in French- Speaking Cheticamp, has played nothing. Scottish music all of his life. Nevertheless, the. Cape Breton fiddle music is quite unlike anything heard. Scotland. Most contemporary Scots violinists have been heavily. Cape Breton treatment is nothing if not vigorous. The reason for this marked difference in style is rather. A native- born partisan of Cape Breton music has told me that. Scotland. Since the subsequent generations of fiddlers in Scotland. Personally, I would be inclined to put the true. The soul. of authentic Cape Breton music - and I would extend this claim to any vigorous. As Sam. Cormier remarks in his notes in the enclosed booklet of this album. Cape Breton fiddlers. It. is the dance which, above all else, harkens back to the old days in Scotland. Since the turn of the century when the. Lancer variety have virtually crowded out the more old- fashioned. Scotch Fours and eight- handed reels of earlier days. Today each locality. But the vital spark that makes. Cape Breton dancing so individual stems from the fact that its practitioners. Highland forms of step- dancing into the quadrille. A source. of pleasure this bracing has always proved a great temptation for reformers. Scotland. had been refined way into the more genteel development of the country dance. But the Cape Breton pioneers were not about to relinquish their. Old- timers in the area will still mutter darkly. Mabou - in the very heart of the fiddling region. A proud. old fiddler and churchman told me recently, . Some are as old as the earliest Scottish tune collections. Cape Breton favorite. Dan R. Mac. Donald and Dan Hughey Mac. Eachern. Towards the end of the evening, the caller. For myself, I would always prefer the relative modesty of. Scottish music any day. There. is no experience quite comparable. I think, to hearing an eerie melody. The Sou. No matter how noisy. This is Joe Cormier. Again Joe is joined by Eddie Irwin on piano and Edmond. Boudreau on bass. Mark Wilson. This album is dedicated, not to the square dance. I grew up on in. Cape Breton, Nova Scotia. When we speak of the Cape Breton square dance. Rather, in a small Cape Breton village the dance formed. Like all square sets, the Cape Breton dance form. It is made up of four couples. In Cape Breton that is always a fiddler. The first is danced. Prior to this. they had a dance which was very much a square set but which they called. The huit was a standard dance with no variation and. It was like the square. There was less holding. As late as the early thirties the huit would be featured at weddings. With no cocktail bars or ice- cream parlours around. Cheticamp in the thirties would. Given the shyness of the typical French- Canadian country. But the square dance offered an open opportunity. Once boy. met girl and a bit of compatibility, the rest was unbelievably simple. At that time, your men were allowed to visit their. Wednesdays. and Sundays. Young men who tried this on different nights or more frequently. It can easily be deduced that the young men of the community. The square dance was an ideal arena for the resolution. In my village of Cheticamp, a square dance. In the fray of drinking, dancing and being huddled closely. That would always lead to reconciliation. The dance was the very core of people. The old and young, the poor. I still remember a cabinet minister who told me with pride. Everyone found relaxation at the dance. The shy young. people who were awkward at person to person conversation could shed many. For those. of advanced status needs, it provided an opportunity to put on their best. This rural. dude always carried, as well, a package of chewing gum for his own use. The square, however, was never free from moral. Scottish and French communities of Cape Breton. To the. clergy and their blindest lay supporters it was a serious sin - deserving. In their eyes, physical contact of any kind between male. It logically followed that square- dancing. An individual believer was in danger of. And then the men and women who engaged. They were hardly disposed to stand in full confrontation. Instead, using the clergy. Armed with such a foolproof defense, it is a matter. Ultimately, the reason that the square dance was. If the dance had been the exclusive preserve of the lower.
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