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Bella GaffneyTN: Before we talk about your new release, let’s wind back to how you first got into folk music.
Bella: […] I suppose it was Simon and Garfunkel. I remember their music in particular. My uncle sings and plays guitar and he used to do a lot of their material. Ralph McTell, as well, who had the advantage of being English, so I found his songs easier to relate to.
Jeff Warner:NS: You clearly enjoy playing to an English audience, especially the way they tend to join in with songs.
JW: The difference [between the UK & US] is, in the UK I am talking with people who already know about folk music; in America most of my work is talking to people about folk music, effectively introducing it to them.
To end all Wars ~ Nigel Schofield:TN: So ["to end all wars" is] not about World War 1?
Nigel:[…] not exactly. Because of the centenary I’ve allowed that to be the hinge of the show. The first half starts outside the walls of Troy and takes us through to 1918, the end of the war to end all wars. The second part takes of from that point and is about the most warlike century in mankind’s history.
- RoseCastle Rambles III: More whimsical wonderings to see among others – Andy Irvine, Ida Meidell Blyod, Jeff Warner, WinterWilson and "More joy […] at The Malthouse – The Nobles. Although frequently seen in ones, twos or threes, to see Will, Pippa, Cuthbert and Lydia as a quartet is a relatively rare pleasure."
- Scandimoot: It happens in the Dales each year and it´s a haven for the nyckelharpa or hardanger player. Phil Keen mulls over "eleven years of bringing the best of Scandinavian music and dance to the UK"
11/11/1918: Part I to IV
Part I – “I collected some 15 men from B Company and we sang Green Grow the Rushes, The Mermaid, The Wraggle Taggle Gypsies, The Girl I Left behind Me, The Drunken Sailor and A Roving. We did several of them twice through.” (Frederick Kelly – composer, concert pianist and Olympic Gold Medallist).
Ye gentlemen sportsmen I pray listen all, And I’ll sing you a song in praise of Skewball – so goes the song but - "The story of the prize-winning horse is found in both African-American worksongs and Cowboy ballads. The detail of the original event is lost and the horse’s name changes"
Tune as printed is in C, but, as promised in the magazine, you can download a version in G (PDF);
Anahata's Tune Spot: On The Cuckoo's Nest Anahata remarks "… though it’s named Cuckoo’s
Nest in the book, it is an almost note-for-note transposition from minor to major of one the the Jolly Tar variants."
- "That" Tuning: Duncan is having another modal moment in his on-going tuning treatise –"It also ‘fits the bill’ better along with the keys that one might more often encounter in song or tune sessions, where melodeon and fiddle players generally favour such keys as D, G and A".
Obituary: Simon HeginbothamWe bid a sad farewell to 'Saltaire Simon' in this 'Not An Obituary'! One of that band of unsung event organisers who provide a living for folk professionals and a loving for folk aficionados.
Review SectionA wild ride of nationwide CD releases, live reviews and a book, with proper pages and everything.
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