Violoneux d'origine, independent GAGCD-26421, 1998
Aimé Gagnon, violon, pieds, voix; Lisette Lemay, piano; Marcel Lemay, accordion; René Blanchet, accordion; Urbain Blanchet, piano; Cécile Gagnon, piano; Claude Méthé, violon; Paul Marchand, guitare, pieds; Paul Morrisette, guitare
Produced by Danielle Gagnon, Yves Gagnon & Claude Méthé; Engineer: André Marchand
Tracks: Air Charles Saint-Hilaire; Air Adrien Saint-Hilaire; Casse reel; Reel de la seigneurie; Reel à Lisette; La jarretière; Les vagues du Saint-Laurent; Reel Jean-Baptiste Gagnon; Reel Louis Saint-Hilaire; Reel Malouin; Reel des ouvriers; Reel de mon grand-père; Ronfleuse Gobeil; La chantrelle; Vive la canadienne; Air à danser; Air irlandais à la québécoise; Reel du cultivateur; Turlute; Reel de Charny; Cotillon de la patte du mouton; Reel du quêteux Tremblay; Reel des copeaux de bois; La traverse; Reel "Desjarlais"; Gigue du draveur; Les motons dans l'gruau; Valse Ti-Blanc
J'ai connu Aimé Gagnon d'abord par l'entrermise du disque "Acadie-Québec" (Université de Laval). Ensuite, je l'ai recontré chez lui et je ne sais pas qui a adopté qui. C'est sans aucun doute à cause de lui que j'ai pris le chemin du musicien traditionnel. Sa musique lui resemble-sans artifice, la vérité pure et simple qui coule de source. Cet enregistrement constitue une archive personnelle - la plupart des pièces ont été enregistreés dans sa cuisine ou dans des veillées familiales durant differentes étapes de sa vie. Je remercie Danielle et Yves Gagnon de partager ce souvinir en redant son répertoire accessible à un auditoire plus vaste; tous ses amis ses admirateurs, les violoneux en herbe et les gens qui maintenant auront la chance de découvrir cet homme marveilleux. La musique d'Aimé est notre cadeau pour l'éternité.
I first learned of Amié Gagnon when I heard him play on the album "Acadie-Québec" (Laval University). Shortly thereafter, I visited him at his home and to this day I'm not sure who adopted who. It is without doubt his influence on me that motivated me to choose my path as a traditional musician. His music is, like himself, unpretentious, the pure and simple truth, straight from the source. This recording is a personal archive - most of it was recorded in his kitchen or at family parties, under a variety of physical and emotional circumstances. I give deep thanks to Danielle and Yves for deciding to share it with the rest of us - friends, admirers, aspiring musicians and those who will now have the opportunity to discover the special man. Aimé's music is a gift to us that will live forever.
La musique de notre père a bercé notre enfance et s'est cristalisée dans nos mémoires. Chaque pièce de cet album réveille en nous des souvenirs vibrants. N'étant ni l'un ni l'autre musiciens, nous observions avec fascination chaque geste de notre père lorsqu'il jouant: sa manière de s'assecoir, de se placer les pieds, de tenir son archet, d'aclater de rire ou de chercer ses notes.
Thoughout childhood we have been nurtured by our father's music - the melodies he played are forever etched into our memories. Since none of us is a musician, we have always watched, fascinated by each of his gestures while he played - the way he sat, how he tapped his feet, held his bow, burst into laughter or searched for the right notes.
Cet album est dédié à sa mémoire et à tous les musiciens qui garderont vivant ce répertoire unique qu'il avait appris de ses ancêtres.
This album is dedicated to the memory of Aimé Gagnon and to all the musicians that will keep alive his unique repertoire, handed down from his ancestors.
Aimé Gagnon est né le 26 avril 1921 dans le village de Saint-Louis-de-Lotbinière sur les bords du Saint-Laurent à 80 kilomètres au sud-ouest de Québec. Son père, son grand-père et plusieurs de ses oncles étaient violoneux. Tout jeune, il prenait le violon de son père et s'enfermait dans le salon avec ses frères et chacun jouait tour à tour puisqu'il n'y avait qu'un seul violon.
Aimé Gagnon was born on April 26, 1921 in the village of Saint-Louis de Lotbinière on the shores of the Saint Lawrence River about 80 kilometers southeast of Québec City. His father, grandfather and many of his uncles were fiddlers. When he was very young, he and his brothers would close themselves in the livingroom and take turns playing as there was only one fiddle.
Adolescent, il joue dans les soirées qui ont lieu dans les maisons du rang. Les familles étant nombreuses, il y a toujours une occasion de se réunir pour chanter et danser.
As a young man, he played at every house party that took place in his village. Since the families were big, there always seemed to be an occasion to get together for dancing and singing.
Aprés son mariage avec Lisette Lemay en 1950, il forme un trio avec sa femme au piano et son beau-frère Marcel Lemay à l'accordéon Pendant plus de 20 ans, le trio Lemay-Gagnon sera do toutes les fêtes et anniversaires. Aimé et Lisette ont deux enfants, Danielle et Yves, et deux petits-enfants, Alexandra et Chales-Antoine.
After his marriage to Lisette Lemay in 1950, the couple formed a trio with Lisette's brother Marcel Lemay joining them on accordion. For 20 years, the Lemay-Gagnon trio could be found playing for all sorts of celebrations. Aimé and Lisette have two children, Danielle and Yves, and two grandchildren, Alexandra and Charles-Antoine.
Fermier, menuisier, commerçant et négociateur pour l'Office des producteurs de bois de la région de Québec, il est impliqué dans la vie communautaire du village. Mais la musique est omniprésente dans sa vie: il assiste à plusieurs galas et il fait des soirées chez lui où il invite des amis musiciens pour des parties qui durent jusqa'aux petites heures du matin. Une des plus mùmorables, vers la fin des annùes soixante, a eu lieu dans une maison qu'il venait d'acheter. Sa femme, refusant de dùmùnager son piano pour une seule soirùe, il dùcida d'en acheter un pour l'occasion!
Farmer, carpenter, tradesman and negociator for the Québec Office of Wood Producers, he was very involved in community life. Music was always monipresent in his life: he attended many galas and hosted many house parties that lasted until the wee hours of the morning. One of the most memorable of these parties took place in the early sixties in a house that he had just bought. Since his wife refused to move her piano, he bought one just for the occasion!
Vers 1960, Luc Lacoursière des Archives de folklore de l'Université Laval enregistre ses pièces et il est ensuite invité à participer à plusieurs événements internationaux comme l'International Music Council à Québec en 1961, le Smithsonian Folklife Festival à Washington, DC en 1976, la tournée Gens du Québec à Vancouver en 1986 et le Fiddle Tunes Festival à Port Townsend, Washington en 1996.
Around 1960, Luc Lcoursière from Les Archives de Folklore de l'Université Laval recorded some of Aimé's tunes for the university collection. A subequent album release by the university, featuring selections from these archives, brought his style and repertoire to the attention of many outside his home region. As a result, he began to be invited to participate in such exciting events as the International Music Council of Québec City in 1960, the Smithsonian Folklife Festival in Washington DC in 1976, the tour Gens du Québec in Vancouver in 1986 and the Fiddle Tunes Festival in Port Townsend, Washington, in 1996.
Aimé s'est éteint le 22 janvier 1997 à sa résidence de Lotbinière aprés une vaillante bataile contre le cancer.
After a valiant battle against cancer, Aimé Gagnon passed away on January 22, 1997 in his Lotbinière home.
"Chaque coin de pays a ses artisans qui ont façonné à leur manière la beauté de ce paysage du Québec autant visuel que conté, chanté, parlé et joué. Aimé Gagnon etait de ceux-là qu'on écoute et qui nous transporte dans un univers à part. hors du temps. Il nous faisait habiter sa musique comme si l'auditeur en faisait partie intégrante. Il restera pour nous à jamais cette incarnation du violoneux québécois, dans toute sa spendeur et sa simplicité: un son de joie qui coule dans nos veines un rhythme de paix qui roule dans nos pieds."
La Garouine, C’est Comme L’Enveloppe de Tes Yeux…, Polydor GU 2424.079 – 1973
Philippe Gagnon, , violon d’acier électronique et voix; Pierre Ringuet, batterie, maracas, guitar et bouteille; Serge Valliers, guitar électronique et guitare sèche; Michel Dion, basse électronique; Pierick Houdy, piano, orgue; André Migneault, violoncelle; avec la participation du cousin Aurèle Gagnon dit ‘Ray’ pour la chanson ‘Par Un 25 D’Avril’
Arrangements Musicaux: Pierre Ringuet, Serge Vallières, Michel Dion, Pierick Houdy; Réalisé par: (Voisins: Ringuet, Vallières) et Lucien Gagnon
Les tunes et chansons: Le Vin reel; Un jeune
avocat; Trudeau reel; Les Habitants; La Garouine reel; Mon Jos; La Quenouille
reel; Par Un 25 d’Avril; Les Voisins reel; La Partance
En 1973 tu viens d’inventer le ‘Rock n’ Roll.’ J’espère qu’un jour il ____(?) sur tout, les planètes. Ton disque ne ressemble a auncun autre.
J’important c’es qu’il ait été fait j’ai toi et a ton goût comme la garouine.
Ridin’ The Fiddle - King Ganam and his Sons of the West, RCA Victor LCP-3009
King Ganam, fiddle
Tracks: Ridin' The Fiddle*; Kiley's reel; Speed the Plough Reel; Four String Polka*; Kitty O'Niel Jig; The Shelbourne Reel*; Happy Times Schottische*; Marilyn Bell Reel*
Note: this is a 10" LP
Whether it's a Barn-dance in Quebec, a Clam-bake in the Maritimes, a Harvest Festival on the Prairies, or an old-fashioned Hoe-down in Ontario, whenever country folk gather to enjoy themselves, it isn't very long before the crisp country air is ringing with the sound of old-time fiddlin' - the kind of fiddlin' that sets toes a'tappin', and skirts a'whirlin' - the kind that makes you want to "git up n' dance". That's just the brand of fiddlin' you hear when King Ganam lifts his bow.
Ameen Ganam is his name but he calls himself "King", and he really is one. Known for his lively, original style of playing, Ganam has a way with a fiddle that can't be matched. His bow whips across those strings about as fast as a fox in a forest fire, and he's got more tricks inside that old fiddle than Houdini had in his trunk. "The King" has written a good many reels, polkas, and jigs himself; five of his own are included in this album, and they all reveal the zestful, elfish way he handles a fiddle and bow.
Actually, "ridin' the fiddle" comes easy to King Ganam; he's been close to a violin ever since he was five years old. A native of Swift Current, Saskatchewan, he learned to play by ear under the old-time fiddlers in his district. At the age of nine, he was playing at country dances. By the time he was in his early teens, "the King" had a radio series in Regina. In 1942 he moved to Edmonton, where he organized his popular "Sons of the West" orchestra and he's been with them ever since. In fact, they accompany King on all his records. He and his boys have been active in radio, too. One of his shows was "Alberta Ranch House" on the CBC which featured King Ganam for five years. The King of the Fiddle made his first recordings for RCA Victor in 1951, and since then he has turned out many of the nation's favourite western and square dance tunes. Moving to Toronto the following year, he has appeared regularly on network TV and radio. Tours have taken him across Canada and the U.S. where his skill on the fiddle has met with great success on many American television networks. It's King's modern approach to Country Music, rather than his tours and TV shows, that has popularized it today. That's why he's also known as "The King of Western Swing". so much for "The King". What about the fiddle? Well, the fiddle can speak for itself:
"I was born in the Dresden workshop of Johann Gottlieb Ficker, who took great care in molding my beautiful figure, so that I would always be in style, in any age. Then one day a wonderful thing happened in the foothills of Alberta. I moved into the home of King Ganam. Imagine my surprise when suddenly I found myself swinging into the gayest and most delightful mood I'd ever been in. There and then I learned something very important ... important especially to someone as smug as I had been. I learned that expressing musically what's in your heart is just as difficult in jeans as in tails. Sometimes I get a nice homey feeling when King takes me to Toronto's 'Casa Loma', for within those high walls with turrets and towers above me, I almost feel I'm back in a German Schloss, with bewigged ladies and gents swishing their silks on the dance floor - that is, until someone hollers "Swing your partners."
Jigs, reels, and the like originated in the British Isles centuries ago, and their popularity hasn't diminished since, even in the face of such strong competition as the "Mambo" and the "Rock n' Roll". They'll go on being popular, too, just as long as there are folk with spirit enough to dance to them, and fiddlers like King Ganam to play them.
King Ganam, Fiddle
Tracks: The Mohave Hornpipipe*; Smash The Window; Dawson Creek Reel*; Endearing Young Charms*; Once Upon My Cheek*; Rippling Water Jig; Heel and Toa Polka*; Congress Park Reel*; The Farmer's Schottische*; Cattle Call
Many musicians play violins .... many people dance ... and almost everybody can wink but these three accomplishments when done at one time by one handsome person become the 'trademark' of King Ganam. Recognized as one of Canada's top fiddlers, King also has an international reputation as an outstanding, with a distinct style of his own.
Such recognition seldom comes quickly or easily, and such was the case with Ameen Ganam. A true Westerner, King made his start in the foothills of Alberta where he and his orchestra, "The Sons of the West", built a strong and faithful audience with their bright, happy "western" music. This resulted, in 1941, in a radio network program that extended the Ganam popularity throughout the Prairie Provinces and eventually throughout every Province of Canada.
A decade later saw the start of his recording activities when he cut his first session at RCA Victor's Montreal studios. The fist single was his own composition, "Ridin' The Fiddle", produced by Hugh Joseph who at that time also "crowned" him "King" Ganam.
Since that time, Ameen "King" Ganam has had little time to look back as nation-wide tours, international guest appearances and his own network radio and TV shows pile one upon the other, making him one of the busiest entertainers in the land.
In spite of all his other activities, King Ganam has continued his career as a composer of fiddle tunes which have been consistently successful and have extended his fame as a tunesmith wherever country music is played. This, the latest of King's recordings, demonstrates both his capabilities as a writer and as an outstanding country fiddler, and in permanent form makes available many of the most requested numbers of his radio and television audiences.
Always a perfectionist, nonetheless King thoroughly enjoys making music and hopes that these samples of his wares also bring enjoyment and delight to those who add this record to their collections.
Wm. Harold Moon
General Manager, BMI Canada Limited
Tracks: Josh King’s County Breakdown*; To
The Ladies Jig; Qu’Appelle Valley Breakdown*; Firman’s Reel; Miller’s Reel;
Golden Eagle Hornpipe; The Farmer’s Jamboree Jig; Arkansas Traveller; Angus
Campbell Reel; Red River Jig
“Allemande left to the corners all,
Allemande right your partners...”
These magic words can start the most reserved hands clapping and set the laziest toes tapping in time to the rhythm. And they can be heard anywhere that people get together to enjoy themselves - from the neighbours’ barn just up the road to the swankiest ballroom in the largest city. As classic in form as the minuet... As lively as the charleston... And as much of a craze as the cha cha cha... the jaunty, light-hearted music of the square dance proves irresistible to all who come under its spell. and who is more capable of presiding over such merrymaking than the “King” himself? King Ganam of the Royal House of Hoedown, that is.
Among his many qualifications for the position are: A prize winning performance at the Pacific National Exhibition World Open Western Band Competition; featured appearances at Mart Kenny’s Ranch and Toronto’s famed Casa Loma; several tours throughout Canada and parts of the United States; the publication and recording of many of his own western and square dance compositions; and appearances on network radio and popular CBC-TV shows. In fact, ever since he received his first fiddle at the age of five, King Ganam has been pleasing members of the Square Dance Set (and that included practically everybody) with his infectious fiddle playing... So (with apologies to that well-known television square dance hostess) put a little fun in your life - try SQUARE dancing... We promise you a real ‘swingin’ time.
Tracks: Mitton’s Breakdown; Old Time Polka; Marilyn Bell Reel*; Dick McDougall Reel*; Oompah Rag; The Shelburne Reel*; Rocket Reel*; Black Mountain Rag; The Farmer’s Schottische; Maritime Polka*
Something To Smile About, Independent, no serial - 1998
Jamie Gardner, Fiddle; Mel Gardner, guitar; Bobby Lalonde, bass; Carol Dawson, piano
Produced and Engineered by Bobby Lalonde; Recorded at Bolab Studios, Ottawa
Tracks: Jig Medley: Art Jamieson's Jig / Expo 86 / Shady Nook; Dance Medley: Clog in D / Jig in G / Reel in B; Lake Dore Waltz / Red Carpet Waltz; Reel Medley: Blind River / Archie Menzie's / Caronelle's/ Matilda Murdoch; Maiden's Prayer; Old-Tyme Jig Medley: Stan's Jig / Little Burnt Potato / Irish Washer Woman; New Canadian Waltz; Waltz Clog / Alabama: Mary Get My Shoes / Alabama Jubilee; April's Waltz; Jordan's Reel / Red Lion; The Rags: Buck Fever Rag / Stone's Rag; Ashokan Farewell
For as long as I can remember, fiddling and stepdancing have been a big part of my life. I was introduced to stepdancing at the young age of four by my grandparents (Mel and Irene Gardner). I soon became as interested as they were. Nan and Pap always had a keen interest in music and have always been a huge part of entertainment throughout the Ottawa Valley. I began competing in stepdancing at the age of six and followed the regular circuit of competitions each year, traveling mostly with my grandparents. A few years into the competitions I decided I would like to take fiddle lessons. I still remember my mom surprising me on my eighth birthday, when she dropped me off at fiddle lessons and handed me my great-grandfather's fiddle. I rosined up my bow, and with my grandpa on guitar, I've never looked back. He became a big part of my success when he began arranging fiddle lesson, practices, scheduling of competitions and entertaining at charity functions and shows. I have accompanied Nan and Pap on numerous bus trips with fellow fiddle fans. We have experienced the hospitality of Dartmouth, Nova Scotia; Branson, Missouri; Dollywood, Tennessee; Sault St. Marie, Ontario and many other areas of Ontario.
My parents work full-time and look after keeping my brothers Lee (14), Troy (10) and myself (17), busy with other lessons and activities such as swimming, skiing, skating, hockey and golf.
Fiddling and stepdancing have allowed me to experience so many priceless moments. I have met countless people in my travels who have inspired me to be proud of what I do, but no two people have taught me more about music, and generosity, than my grandparents.
Thanks So Much
- To Brian Hebert for the lessons and encouragement over the years.
- To Emile Giroux for allowing me to experience entertainment in faraway places.
- To all of my fiddle fans and their continuous praise.
- To Carol Dawson, Bobby Lalonde and my Pappy Mel for their great advice and for being a part of this recording.
- To my wonderful friends from school and on the road: Kara, Abby, Hayley, Erin, Katie, Andria, Julie, Teri, Nancy, Sherry, Wesley, Brandon, Jacob, Neysa, Kendra, Oliver, Kai, Lucas, Jared, Amanda, Kelly, Chris, Steve, Rebecca, Erin and the Searson Family Band.
- To my parents, Brian and Susan (Lamarche) Gardner for introducing me to so many different activities and enforcing strong morals along with love, support and encouragement.
- To my brothers Lee and Troy for their friendship and love.
- To all of my many auntie, uncles, cousins and grandparents for the love of family.
- Most of all to my grandparents Mel and Irene Gardner, who gave me the start that allowed me to be where I am today with Old-Tyme Entertainment.
Dedicated to Mel and Irene Gardner (Nan & Pap)
Old Factory Fiddle... A Tribute,
Chiwhatin Productions, no serial no.
Recorded and Distributed by Chiwhatin Productions, Wemindji, QC
Tracks: Old Joe Clark; Uncle Henry's Reel; Fisher's Hornpipe; Vale's Breakdown; Old Man And Old Woman; Boil 'em Cabbage Down; St. Anne's Reel; Big John McNeil; Rambler's Hornpipe; Scotland The Brave; Soldier's Joy; Seven Mile Long
Rick Gerroir & The Saint John Oldtime Fiddlers, independent - no serial
Musicians: Rick Jerrior, Ernie Blanchard, Howard Ross, Joyce Ross, June Blanchard, Carol Patterson, Perry Croft, Jerry Cormier, Wayne Friars, Allison Inch, Dr. Ken Rodgers, Pat Boulanger
Tracks: Soldier's Joy; A Little Moore Jig*; Carleton County Breakdown / Woodchopper's Breakdown; Cheslatta Lake Rag / My Little Girl / Saint John Oldtime Fiddlers 2 Step**; Manitoba Golden Boy / Spanish 2 Step / Maple Leaf 2 Step / Pat's 2 Step; Flowers of Edinburgh / Lord Alexander's Reel/ Irish Washer Woman / Cock of the North / Little Burnt Potato / Stan's Jig; Fiddle Fingers; Old Man and The Old Woman; Smile Awhile; She Taught Me To Yodel***; Rag Time Annie
* by Bob Moore
** by Dr. Ken Rodgers
*** sung by Antique Ernie Blanchard & the Hardwood Ramblers
The Fiddlers of Cape Breton, Celtic SCS 57 (Compatible Sterio)
Arisaig Airs: Violin Music of the Scot played by Wilfred Gillis, Celtic CX 45, circa 1962
Wilfred Gillis, violin; Colin MacInnis, piano
Tunes (Selected for folk dances): Marquis
of Huntley’s Highland Fling; Gillie Calum Sword Dance; The Flowers of Edinburgh,
The White Cockade; Stumpie, Reel O’Tulloch, High Road to Linton; Shaw’s
Favourite Jigs; Miss Drummond of Perth / Lord MacDonald / Cameronian Rant;
Classics from the Highlands: Flowerdale; Killiecrankie / The Lass O’Gowrie;
Bean na Bainnse; My Native Highland Home; Lord Lovat’s Lament; The Larid
O’ Bemersyde / Castle Grant
Arisaig, the crofting and fishing village on the western shore of the Highlands of Scotland, derives its name from the ancient Norse word meaning ‘river mouth bay’. The name was carried over the sea to Nova Scotia by one among the Highlanders who left their native soil because of the repressions following the Rising of ’45. John Gillis, whose family supported MacDonald of Glenaladale and some of whom served in the Glanaladale Regiment, gave the name ‘Arisaig’ to the newly founded settlement on Nova Scotia’s North Shore.
Arisaig is dear in the hearts of those who will recall the last great romance of history – he rallying of the Highland Clans in support of the Bonnie Prince Charlie in 1745. It was in Arisaig that the Prince landed from the French brig Doutelle to be met by a few chieftains, one of whom was glenaladale. In their counsels there was some opposition to the Cause, but with the support of Macdonald of Glenaladale, the Prince proceeded to Glenfinnan where he unfurled his standard and met the Clans.
The failure of Prince Charlie’s cause led to the founding of Arisaig in Nova Scotia’s Antigonish County. The proscriptions and repressions which followed the Rising forced many Highlanders to seek a new land where they could live in freedom. Today, the farming and fishing community of Arisaig in New Scotland maintains the culture fought for and then transplanted from the Highlands two centuries ago. It nestles in country reminiscent of that mentioned in the famous tramping song ‘The Road to the Isles.’ Along with Lochaber and Morar we have Lismore and Sunmaglass, Ardness and Knoydart, places named by clansmen of Macdonald and Chisholm, Macgillvray and Ross, and other denied the right to live their Highland way of life in their native land.
Among Celtic peoples, music and poetry were inseparable. The Bards were poets who used music to aid the memory in the recitation of ancient lays. They sang of martial deeds in stirring airs, and laments in plaintive and sorrowing tones. Theirs were the lulling songs of peace, grand songs of victory and tender songs of lullaby and love. The Highlanders maintained this tradition of song and had music to sing with their work and leisure in their fields or around the home, on the hunt or at war. In their song, they expressed a strong attachment for home.
Some Highland music can reach its fullness only when played on the great pipes for which it was composed. Other music anciently composed for the harp still remains as adapted for the violin today. In Nova Scotia, it has been noted that certain styles of violin-playing in Cape Breton tend toward the effect attained by the pipes while the Arisaig violinists have a style more of that originally associated with the harp.
Wilfred Gillis, who plays ARISAIG AIRS recorded on this disc, is of the eighth generation of a family of violin-players who have cherished a pure form of their music, first in the Highlands and for five generations in Nova Scotia. He plays airs that his ancestor John Gillis brought to the founding of the new Arisaig and which have been passed down the Gillis line from father to son – from John to Angus to Stephen to Lauchlin to Wilfred. Louchlin Gillis, though now of advanced years, still favors the visitor to his home with a tune or two.
With Colin MacInnis of Ardness, his accompanist on this recording, Wilfred Gillis maintains the folk custom of playing at weddings, social gatherings or ceildhean, community concerts, dances and the annual Highland Games. His violin sings the airs to which the ancient bards sang their lays of peace and victory, sorrow and love.
Champion Fiddler, Marathon - ALS 352
Johnny Givens, fiddle; Graham Townsend, piano; George McKay, drums; Gord McDonald, bass.
Produced by Ron Van Dykhof at Sound Canada Studios
Tracks: Flop Eared Mule; St. Patrick's Jig; Black Velvet Waltz; Tobby's Reel*; Lievre River Waltz; Rocking Chair Jig; Fairy Toddler Jig; White Rose Waltz; Pretty Kathy's Waltz*; Crystal Waltz; Freddy's Jig*
I first met Johnny Givens about two years ago when Graham Townsend, the North American Fiddle Champion, came by for an interview. Johnny stood at the back of the room not saying much, but I did find in the course of the conversation that Johnny was a pretty good fiddler himself. That was the last I heard of Johnny until an article appeared in a local paper about him winning the open championship at the Northeast Regional Oldtime Fiddle Contest. I decided that Johnny was better than a "pretty good" fiddle player.
My first chance to see Johnny in person came just about one month ago when he appeared at a local jamboree. To say the least, I was very impressed!!! I also found out that he's won quite a few awards: Wellington County Junior Champ '70-71; Orillia Fiddling Contest, Junior Champ '69-71; Southern Ontario Junior Champ '70-71; and, the one that Johnny is proudest of, open championship at the Northeast Regional Fiddler's Contest in Weiser, Idaho.
Johnny started playing the fiddle at the ripe old age of seven after his first trip to Shelbourne, Ontario. He stormed up to the attic as soon as he got back and dusted off his grandaddy's fiddle, and the very next year, at the age of 8, there he was with fiddle and bow in hand on the stage at Shelbourne. Up until about the last two years, he was pretty well self taught, but then Graham Townsend came on the scene and as Johnny says "He taught me a heck of a lot".
Oh, by the ay, Johnny also plays bass guitar, mandolin and banjo which isn't bad for an eighteen year old from Burford, Ontario.
Glendale ‘79 Live, Inter Media Services IMS-WRC1-1273 - 1979
Old Tyme Fiddle Tunes by Ron Goodwin, WRC1-3479, circa 1985
Ron Goodwin, fiddle; Jeff Goodwin, drums; Carl Bezanson, guitar; Waldo Munroe, piano; WendellSimms, bass
Producers: Ron Goodwin, Jeff Goodwin, Carl Bezanson; Engineer: Frank Spinney; Recorded at Frank Spinney Recording Studio, Cambridge, NS
Tunes: Cape Blomidon Reel*; Atlantic Polka;
The Belledune Quickstep; Amy Rose Waltz*; Whalen’s Breakdown; Acadian Hornpipe*;
Liverpool Hornpipe; Guitar Boogie Special (C Bezanson); Cross Canada Jig;
Annapolis Valley Waltz*; Leventine’s Barrell; Gaspereaux Mountain Jig*;
Rickett’s Hornpipe; The Harvey Jig; Amazing Grace; Country Rock (C Bezanson)
This is my first album of old tyme fiddle tunes and several of them are my own compositions. I hope you enjoy listening to them as much as I have preparing them. I wish to thank the musicians who helped me and also a special thanks to my son, Jeff, for his encouragement and support.
Traditionally Rockin’, no label – TR1 – 1998
Glenn Graham & Rodney MacDonald, fiddle, dancing feet, voices; Joel Chaisson, piano, synthesizer; Gordie Sampson, guitars; Dave MacIssac, guitars, bass; Eddie Woodsworth, stand up bass; Matthew Foulds, djembe, shakers, snare drum; Don Chapman, drums; Kinnon Beaton, fiddle; The Judique Boys, background noise; Elizabeth Beaton (Grandma Beaton), piano
Produced by Glenn Graham & Rodney MacDonald; Engineered by Allan Strickland, Fred Lavery & Gordie Sampson; Co-Arranged by Gordie Sampson; Liner Notes by Carole M. Chisholm; Recorded at Ultimate Groove Studio, Halifax, NS and LakeWind Sound Studio, Point Aconi, NS
Tracks: Traditionally Rockin’; Walking The
Floor; sin agad e; The Twister; Mo mhathair (My Mother); Beatin’ on the
Strings; Smokin’ on the Dundee Hornpipe; Ainsley’s Waltz; “…Mabou Hall…”;
Those Were The Days; Generations
Traditionally Rockin’: Mutt’s Favorite reel / Sarah’s Fiddle reel / Frank’s reel – The title speaks for itself!
Walking the Floor: Road to Skye jig / Walking the Floor jig / Traditional jig – These three tunes are popular standards at dance halls throughout Cape Breton
Sin agad e: Campbell’s Favorite march / Sir Harry’s Welcome Home strathspey / Mrs. Kinloch reel / Silver Star hornpipe / Mourne Mountains reel / The boys of Ballinchalla reel – This selection is in remembrance of our grandfather, Donald Angus Beaton, who has inspired us with many of his recorded house sessions. There is nothing like a good house party!
The Twister: Morrison’s Jig / Howie & John Morris’s jig / McGuire’s 25th jig – Appropriately named, this ‘contemporary’ set on E minor combines the old and the new. Two of our tunes are featured, as well as some fabulous back-up musicians.
Mo mhathair: Mo mhathair (Gaelic air) / Colonel Rodnew reel – This is an old Gaelic air. It is important to note the strong connection between the Gaelic language and Cape Breton fiddle music. Often found in the key of C, we have arranged this piece in the key of G and used a unique way of counting our way into the reel.
Beatin’ on the Strings: Ronald Baton’s Strathspey / Hughie & Allan’s reel / Leventine’s Barrel Hornpipe / Francis Beaton’s reel – (Pardon the pun) This selection of ‘Beaton Tunes’ is in memory of our uncle, Francis Beaton, who gave us the fiddles we presently use.
Smokin’ on the Dundee Hornpipe: Dundee Hornpipe / Kelsae Brigs reel / Eileen’s Humour reel* / Charlene’s Graduation reel** - This set features a neat switch from D to B minor and a couple of our own compositions for our sisters.
Ainsley’s Waltz – This tune was composed by our friend Amanda MacDougall for a special little girl from Judique.
Those Were The Days: Willie Joe’s jig / Andrea & Allison’s jig / Memories of Mabou jig – Four on the Floor! This music was meant to be danced to! These tunes on G and G minor come from three of Cape Breton’s most prolific composers (Jerry Holland, Donald Angus Beaton and John Campbell – ed)
Generations: The Craig of Barns strathspey / King George V strathspey / Bell Piano reel / Beauort Castle reel / The Grain Fields of White Point reel / Yetts of Muchart reel / Miss Menzies of Culdare reel – We are lucky enough to come from families full of musicians and dancers. This set features three generations, including our grandmother Elizabeth Beaton, our uncle Kinnon, and ourselves. These tunes have that good old swing.
** Rodney MacDonald
In Cape Breton it is said that music is n the genes.
The musical family tree of Rodney MacDonald and Glenn Graham includes forty-four musicians, stretching over at least four generations of the Beaton, MacDonald and the Graham clans. This remarkable ‘gene pool’ of players, violinists, composers, Gaelic singers, pipers and several exceptional stepdancers contributes to their rich musical heritage. Most immediately, they have been greatly influenced by their grandparents, the late Donald Angus Beaton, noted violinist and composer and Mrs. Elizabeth Beaton, a gifted piano accompanist.
Glenn was born on April 29, 1974 to Danny and Mary (Beaton) Graham of Judique. Rodney was born on January 2, 1972 to Alex Angus and Elizabeth Ann (Beaton) MacDonald of Mabou. Both are recent graduates of St. Francis Xavier University. Glenn is pursuing his musical career, while Rodney is a teacher in Mabou by day, and a much sought-out fiddler by night and by weekends…
By their early teens, both young men were masters of Cape Breton fiddle. They had been taught in the techniques and the tunes of the Cape Breton Mabou Coal Mines style by their grandmother, uncles Kinnan and Joey Beaton and Mary, all composers and accomplished musicians. There are four original titles on tunes on this album: each has composed two, indicating that the legacy of composition still ‘runs in the family.’ Both Rodney and Glenn play by ear and by note, important because each tune tells a story, and how you ‘hear’ the story determines the way you tell it; the telling is in the genes.
Rodney and Glenn have played and taught at workshops throughout the Atlantic provinces, Ontario, Quebec, the Eastern United States, and the UK. They have also performed with a countless number of well known musicians. Rodney, in his teen years, played in a group called ‘Highland Classics’ whose members included the then little-known Natalie MacMaster and Ashley MacIssac. Rodney released his first CD, entitled ‘Dancers Delight’ in 1994; Glenn released ‘Let ‘er Rip’ in 1995. Each was featured on the other’s CD.
Traditionally Rockin’, their joint effort, is a dancer’s tape. Regardless of what instruments are added (and their backup musicians are the cream of the Cape Breton crop – just listen to some of that guitar work!) Rodney and Glenn are true to the rhythms that are ‘Coal Mines music.’ What makes the album particularly unique is that when they tried for a wider audience appeal by adding electric guitar, bass, drums and synthesizer, to enhance the more traditional acoustic guitar and piano accompaniment, what resulted was interesting tidbits of jazz and blues, country and rock woven in and out of the traditional harmonies. Whatever your musical background, or interest, there are several cuts that will ‘put you on the dance floor’ (to the non-Cape Bretoner, that means dance). On this album, they’re ‘rockin’ …and for lovers of the Cape Breton fiddle, ‘the beat goes on!’
Preparing these liner notes has brought me much joy because I got to listen to the album first! Thanks for asking, Rodney and Glenn, and much success with the project … your friend and fellow music-lover,
Carole M. Chisholm
Thank you very much
This recording is a refection of who we are and where we come from. It is intended to please all music lovers.
A production such as this always involves many people. A special thank you goes out to the following: God, our Parents and Families, Lori-An, Kinnon and Betty, Grandma, Joel, Gordie, Dave and Nancy, Eddie, Mat, Don. Al (Huge), Fred, Kurt, the composers of the tunes, Keith, Sylvia, the Judique Boys, Derrick and Melody, Celeste, Carole, Ray (CJFX), Bob (CIGO), Jack (Oldies 950), Wendy (CBC), Eric McEwan, CBC, ATV, BBC, Oran, Casket, Chronical-Herald, Cape Breton Post, Reporter, Daily News, Sun, Victoria Standard, Am Braighe, More than Booking, Jim Bickerton, and anyone not mentioned who has contributed positively to our music.
This album is dedicated to our uncle, the late Francis Beaton and the late Emma MacDonald
Old Tyme Favorite Tunes, Custom Soundaround Productions CS-76H22, 1976
Currie Seeley, fiddle; Lin Seeley, banjo; Laura Argue, piano and accordion; Jim Argue, washtub bass and spoons; Edna Seeley, guitar
Tracks: Sugar Tree Stomp; Jimmy's Favorite
Jig; Red Fox Waltz; Johnny Coppersmith Polka; Cliff's Schottische; Joys
of Quebec; Uncle Jim / Cock of the North; Plaza Polka; Liberty Two Step
Polka; Maple Leaf Waltz; Jenny Lynn Polka; Country Serenade Polka; Lord
Alexander's Reel; Red Wing Polka; Black Velvet Waltz; East Hill Polka
The Grand Coulee Old Tyme Jig Band originated during some cold, stormy, Saturday nights in 1967 when John and Shirley Gorman, Joe and Edna Seeley, and Jim Argue would gather at Currie and Lin Seeley's for evenings of musical fun. Originally for their own enjoyment, they soon began to play for variety nights, dances, wedding receptions and Senior Citizen homes in and around Regina. In 1972 John and Shirley Gorman retired from the band and Laura Seitz (now Mrs Jim Argue) joined the group playing piano and accordion. The fiddle that Currie plays originally belonged to his father who purchased it second hand in Toronto in the year 1900 and played at many country dances in the Grand Coulee area. They hope you enjoy these few fiddle tunes as much as they enjoy playing them for you.
Currie Seeley, fiddle; Lin Seeley, banjo; Joe Seeley, washboard & tambourine; Edna Seeley, guitar; Jim Argue, washtub bass & spoons; Laura Ague, piano & accordion; Engineer: Earl Brown
Recorded at Calart Studios, Regina, Saskatchewan
Tracks: Crooked Stovepipe; Blue Skirt Waltz;
Marching Thru Georgia; Just Because Polka; Shamus O’Brien Waltz; Gordon’s
Jig; Fiddle Strings; Waltz of the Roses; T-4 Two-Step; Cross Country Waltz;
Jolly Fiddler; Brown’s Reel; Monkey’s Wedding; Soldier’s Joy; Liechtensteiner
Polka; Apple Cider
“We are dedicated to playing toe tappin’ music for the pleasure of the young and young at heart”.
Grand Coulee Old Tyme Jug Band
From 1925 on, Currie Seeley, our old time fiddler and Andy Messer (the older brother of the late Don Messer) entertained at schoolhouse dances in and around the Grand Coulee area. In the early days it was the old tyme fiddle toe tappin’ tunes that kept the settlers close together. In those days, there was very little entertainment. The homesteaders found the music gave them pleasure and acted as a common bond through the many hardships of the day. Currie’s wife Lin, daughter Peg, and song Tom kept the tradition alive until 1967 when the Grand Coulee Old Tyme Jug Band got its start.
Today, along with Currie and Lin, the band includes Currie’s brother Joe, his wife Edna, along with Jim Argue and his wife Laura.
This album is the culmination of years of musical memories. A tribute to those who remember the good old days and a look into the past for those too young to know.
It is today as it was in the beginning that the Grand Coulee Old Tyme Jug Band is dedicated to playing Toe Tappin’ music forthe pleasure of the young and the young at heart.
Cover Photo: Canada’s 13th Prime Minister the Right Honourable John G. Diefenbaker, lived with his family in this house at Borden, Sask., from 1905 to 1910. The home is now situated in the Legislative Grounds in Regina’s 1600 acre Wascana Centre.
The Best Of... Jim Gregrash - Vol. 1, V Records - VLP 3001
Tracks: Wedding March Rock; Porky's butterfly;
Kolomayka #2; Roumanian Folk Dance; Hardtime Polka; Marris Polka; Lovers
Waltz; European Polka; Rainboy Waltz; Rainbow Polka; Beautiful June Waltz;
Red Rose Schottische
Butterfly Dance Time With Jim Gregrash, K Records - SKLP - 6022
Tracks: Alice's Butterfly Dance; Ivy's Butterfly Dance; Jim's Butterfly Dance; Bunney Hop Schottische; Heel & Tow Schottische; Blue Ribbon Schottische; Nasha Kolomayka; Ukraininan Kolomayka; Prowda Kolomayka; Continental Waltz; Rainbow Waltz; Old Timer Waltz
The Greatest Fiddle Sounds of Jim Gregrash
You have a real treat here, of exciting entertainment from Jim Gregrash and his orchestrra as they play for you in sets of three Butterfly Dances, Schottishe's, Kolomaykas and Waltzes for your dancing and listening pleasure.
With fine arrangements and assistance of many, we take great pleasure of bringing this album to you. Try it.
Jim Gregash with Gaby Hayes & Jake Park
Old Country Dance Party, Point - P230
Tracks: Pacific Polka*; Roslags Schottische**; Clozerka***; Finska Waltz**; Ball in Karlstadt Schottische*; Grasshopper Polka**; Wedding Kolomayka***; Pilot's Waltz*; Wesli Kosari**; Jim's Breakdown***
*Gaby Haas; **Jake Park; ***Jim Gregrash
More From Jim Gregash, Apex AL 1640
Tracks: Good Fellow; Please Love Me; Fall Time Polka; We have To part; Lover’s Polka; His Last Goodbye; Willie’s Polka; Good Husband; Bridesmaid Waltz; Sleepless Night; Forever Mine Waltz; Eddie’s Polka
A Tribute To Don Messer – The Fiddle of Bill Guest, Audat 477-4011, circa 1975
Bill Guest, fiddle; Waldo Munroe, piano
Produced by Bill Guest; Recorded at Audio Atlantic/Halifax, NS
Tunes: Favourite Polka / By The Fireside;
Dry River Waltz; Bonnie Tweedside Jig; Griffin’s Hornpipe; Balamut Waltz;
Rippling Water Jig; Don Messer’s Breakdown / Johnny Wagoner; Donagal Jig;
Dawn Watz; Squaw Rapids Breakdown; Belfast Jig; Lord MacDonald’s Reel;
Black Velvet Waltz
Over the years, Don Messer has to be considered as one of the giants of the fiddle and of old tyme music. I have been acquainted with him for some of those years, but I really got to know what a fine gentleman and musician he was when I worked for him on his across Canada Tour in 1971. During this tour, I learned just how much Don Messer worked to promote Old Tyme Music. He was always eager to listen to a tune or a song someone had written in the Old Tyme style.
Waldo Munroe, who played piano for Don Messer, is playing on this album and I think you will agree, he does a tremendous job.
Don Messer is no longer with us, but his music will always bring happiness to those of us who like the toe-tapping sound of a well played fiddle. I hope you enjoy some of the tunes from his collection that we have included in this album.
25 Fiddle Greats! – the fiddle of Bill Guest, Audat 477-9007, circa 1975
Bill Guest, fiddle, piano
Producer: Vern Kennedy; Engineer: Al Feeney; Recorded at Audio Atlantic, Halifax, NS
Tunes: West Virginia Hornpipe; Apple Blossom
Waltz; Bill’s Polka*; The Canadian Clog; Sea-Side Waltz; Nova Scotia Jig;
Blue Star Hornpipe; Morning Star Waltz; Jolly Fiddler Reel; Shannon’s Fancy;
Pendulum Waltz; Bay of Fundy Reel*; Linda’s Schottische; Bill Guest Breakdown*;
Coldstream Jig*; Jody’s Favorite*; Garden View Waltz*; Fiddler’s Reel*;
Lighthouse Reel*; Starlight Waltz*; Shannon Noel Reel*; Horse In Buckwheat
Field*; River Shannon Waltz*; Sue’s Waltz*
Bill Guest is one Country musician who’s really been around. Born in Halifax, Bill toured the US for two years as fiddle player for Doc Williams, the great Country artists from Wheeling, West Virginia. Bill has been coast to coast in Canada touring with the “Don Messer Show”, played piano on Anne Murray’s first television special, and appeared on several CBC-TV shows.
Bill is back home now in Halifax, much to the delight of Country Music fans in Nova Scotia. His many talents (he plays fiddle, piano, guitar, bass, mandolin and clarinet) and his musical knowledge (including studying music at Dalhousie University) combine to make Bill a unique Country artist.
On this, his first album, Bill plays lead and harmony fiddle, and piano. All compositions and arrangements are by Bill.
Now sit back and be our guest, as you enjoy the fine Country music of Bill Guest.
Mr Country Fiddle: Audat 477-9013, circa 1975
Bill Guest, fiddle; other musicians not identified
Produced by Bill Guest & Grant Kennedy; Engineer: Dr. Alan Feeney; Recorded at Audio Atlantic, Halifax, NS; Special thanks to Bill Richards
Tracks: Farwell Jig*; Bowin' The fiddle*; Ontario Jig*; Gypsy Mood*; Nova Scotia two step*; Cornerbrook Jig*; Hungarian Waltz*; Baddeck Reel*; Georgian Bay Jig*; Maritime Hornpipe*; Maple Sugar Waltz*; Pine Bud Jig*; The Easy Way*; Scotchmans Special*
When you invite a Guest into your home, if his name happens to be Bill, he's liable to bring a fiddle, a mandoline, a guitar, a clarinet and even a piano with him. It's not that Bill Guest is stronger than the average person, it's just that he's a lot more talented. In this, Bill's second AUDAT album, we again are treated to that versatile Country sound that makes Bill Guest's music so popular. Thumbing through the phone book you may come upon a host of Guests, but in the ranks of Country music there's only one Bill Guest ... and he ranks with the best.
Bill Guest, fiddle; Waldo Munro, piano
Produced by Bill Guest; recorded at Audio Atlantic/Halifax, NS
Tracks: Favorite Polka / By The Fire Side; Dry River Waltz; Bonnie Tweedside Jig; Griffin's Hornpipe; Balamut Waltz; Rippling Water Jig; Don Messer's Breakdown / Johnny Wagoner; Donngal Jig; Dawn Waltz; Squaw Rapids Breakdown; Belfast Jig; Lord MacDonald's Reel; Black Velvet Waltz
Over the years, Don Messer has to be considered as one of the giants of the fiddle and of old tyme music. I have been acquainted with him for some of those years, but I really got to know what a fine gentleman and musician he was when I worked for him on his across Canada Tour in 1971. During this tour, I learned just how much Don Messer worked to promote Old Tyme Music. He was always eager to listen to a tune or a song someone had written in the Old Tyme style.
Waldo Munro, who played piano for Don Messer, is playing on this album and I think you will agree, he does a tremendous job.
Don Messer is no longer with us, but his music will always bring happiness to those of us who like the toe-tapping sound of a well played fiddle. I hope you enjoy some of the tunes from his collection that we have included in this album
Newfoundland Fiddler, Breakwater Recording - 1002
Produced by Kenneth S Goldstein with Wilfred Wareham; Engineered by Rick Harris. Recorded at CBC studios, St. John's NL
Tracks: Annie, Annie; Rowed Up In The Dory;
Payne's Choice; Old Boney; Sweet Forget me Not; Four Turn Tune; Out Behind
the House; Centennial Highway; Big John McNeil; Liverpool Reel; Uncle Harry's
Out of Shape; Ungle John Peter Payne's Tune; Up Southern Shore; Tribute
to Newfoundland; Mickey Hickey; Cook in the Galley; Flowers of Edinburgh;
Daniel's Harbour Breakdown; McBen
Seventy-seven year old Rufus Guinchard has been playing the fiddle since he was eleven. He began on an old fiddle his father had and though it was broken he managed, ingeniously, to repair the holds with birch-bark and glue from boiled caribou skins; his second and third strings he made from lobster twine, his fine string from the strong thread used to sew skin boots and the bow he made by tightly running sewing cotton (#38) from top to bottom. For rosin he used a knob of frankum. Perked up on the kitchen table with his feet on the chair he began his career as a fiddler. Not wishing to be caught in the act of learning he tucked the base of the fiddle under his unbuttoned shirt under his right shoulder so that he could lean forward to look out the window and spot anyone who might be approaching. From this furtive activity grew a musical style that would charm the country. For years he played at the Saturday night dances in Sally's Cove, Daniel's Harbour, Cow Head, Parson's Pond and many other places on the North West Coast of Newfoundland. The crowds turned up wherever Rufus played and dawn was in the sky when he finished. Often he would hitch hike (though he never once used his thumb) a hundred miles or more over a dirt road to play for a dance.
His repertoire included all the old jigs passed down to him by his father and his uncles who got them from their fathers and their uncles. Rufus, though, made up some of his own, the best known of which is his "The Centennial Highway Reel."
As much a part of his playing style as his unique technique is his smile. From Bristol, England to Vancouver, British Columbia or wherever he has traveled Rufus, with his smile, has charmed the crowds. It is a smile that comes from a man who has lived a full life having been a fisherman, carpenter, logger, trapper, having played for the very rich and the poor, having had fan clubs 4,000 miles away founded to honour him and, most of all, having around him in old age hosts of loving friends.
Those of us who have traveled many thousands of miles with him know his remarkable energy. All of us who were there will remember that remarkable afternoon in the studio when Rufus, at the age of seventy-seven, played for five straight hours with the vigour of a youth and cut his first record.
Rufus, we wish you well.
Rufus Guinchard, Fiddle; Kelly Russell, fiddle; Jim Payne, guitar
Produced by Kelly Russell
Tracks: Double Sledder*; We Are a Set of Jolly Jolly Lads*; See How the Farmer Sows his Seed*; My Man John*; Uncle Manuel Milks the Cow*; Skipper Lost his Guernsey*; Mary Had a Little Lamb; Leonard Payne's Tune*; Sam Sinnick's Tune*; Uncle John Peter Payne's Tune*; Out Behind the House* / Up Southern Shore*; Pretty Little Mary* / Traveller's Reel; Granny's Waltz*; Bees and Flowers*; Parsons Pond Jig* / Uncle Harry's Out of Shape*; Jim Rumbolt's Tune*; Bluebird* / Esau Payne's Tune*
This album is a rather unique and interesting presentation of the fiddle music of Rufus Guinchard, one of Newfoundland's oldest and most respected folk musicians.
Rufus plays by himself on side 1, introducing each tune and providing some background information on the sources of his music. Included in this are some of the first tunes he learned to play, as well as some tunes with verses, which he recites.
On Side 2 of the record, Rufus is joined by guitarist Jim Payne and fiddler Kelly Russell. The three have played together on many occasions and their performance is always quite energetic. Rufus' fiddle is the prominent feature on this recording, with the single exception of "Jim Rumbolt's Tune". A slow version of this tune is played by Kelly as a lament for Jim Rumbolt and his family, who were drowned during a storm at sea.
This album is entirely a home-made production. Most of the actual recording was done in the house of Rufus' next door neighbour, in order to capture a more relaxed and natural feeling conducive to this type of music.
Rufus has been playing the fiddle since he was 11 years old, a total of 71 years. He has lived most of his life in the communities of Daniels Harbour, Port Saunders and Hawkes Bay on the Northern Peninsula of Newfoundland. A full biography of his life, photographs and the music to 60 of his tunes is presently available in a book entitled "Rufus Guinchard - The Man and His Music", published by Harry Cuff Publications, Ltd., 1 Dorset Street, St. John's, Newfoundland.
Thanks to Wallace Hammond (editing), Paul Parker, Bob Hong and Justin Hall. Special thanks to the Newfoundland and Labrador Arts Council for their support.
Featuring classic recordings of legendary Newfoundland fiddler, Rufus Guinchard with accompaniment by long time musical partner and friend, Kelly Russell.
Rufus Guinchard (recorded in 1981), fiddle; Kelly Russell (recorded 1995), guitar, bouzouki, bass, synthesizer, concertina
Produced by Kelly Russell; Mixed and Digitally mastered and recorded by Kelly Russell and Jason Whelan at The Sound Solution, St. John's NF.
Tracks: Bees and Flowers; Parson's Pond
Jig / Uncle Harry's Out of Shape; Prosper's Jig*; Double Sledder Lad; Sam's
Jig; Suzanna Perry's Tune; Uncle Manuel Milks The Cow; Out Behind The House
/ Up Southern Shore; Four Turn Tune; Mary Had A Little Lamb*; Uncle John
Peter Payne's Tune; See How the Farmer Sows His Seed; Sam Sinnick's Tune;
Skipper Lost His Guernsey; Bluebird / Esau Payne's Tune; We Are A Set Of
Jolly Jolly Lads; Jim Rumbolt's Tune; Pretty Little Mary / Traveller's
Reel*; Set Tune #1; Sparrow In The Tree; My Man John; Flower's of Edinburgh;
Leonard Payne's Tune; Boston Laddie
Rufus Guinchard (1899-1990) spent his first 47 years in Daniel's Harbour, on Newfoundland's Northern Peninsula, moving from there to Port Saunders and later to Hawkes Bay where he remained until the age of 91. When not occupied as a fisherman, logger, trapper, carpenter or river warden, Rufus was busy playing the fiddle for dances along the coast from Sally's Cove to Flower's Cove. He learned and retained many of the old tunes played in these communities and continued to play them through a time when local folk music was less popular than today. In the mid-1970s, Rufus was 'discovered' by folklorists and invited to perform at Memorial University and The Arts & Culture Centre in St. John's. With musicians like The Breakwater Boys, Jim Payne and Kelly Russell, Rufus Guinchard began travelling the world, bringing his unique style of fiddling to audiences in Japan, Australia, France, England, Ireland, USA and all across Canada. He appeared on countless radio and TV shows and received numerous awards including The Order of Canada. He has left behind a great legacy of unique and indigenous Newfoundland music which continues to be played by younger musicians today, earning him, among many other things, the title Father of the Newfoundland Fiddle.
Kelly Russell, also a fiddle player, has performed and toured extensively with Rufus over the years, learning his tunes and also performing them with such groups as Figgy Duff, The Wonderful Grand Band and The Plankerdown Band. Kelly has been transcribing and publishing Rufus' music, teaching it to fiddle students, and producing books and recordings of Rufus in an effort to keep this important traditional music alive.
Rufus Guinchard was recorded by Kelly Russell in Hawkes Bay, Newfoundland, 1981.
Kelly Russell was recorded by Jason Whelan at The Sound Solution, St. John's, 1995.
Producer's note: Many of these original recordings of Rufus Guinchard were previously released on Rufus Guinchard - Step Tunes and Doubles (PIP-737) and Newfoundland Songs and Fiddle Music (PIP-7321), accompanied by Jim Payne (guitar) and Kelly Russell (fiddle). With these titles discontinued, Pigeon Inlet productions released this updated version of the classic Rufus Guinchard recordings. Care has been taken in creating new accompaniments which adequately support the fiddle without intruding on the subtle variations of melody and natural rhythms of the feet. The overall intention is to make this unique and vibrant music more widely accessible and available to all those who would hear and enjoy.
Also available: A music book, with notation and chords to all the tunes on this recording. Write to Box 1202, St. John's, NF, Canada A1C 5M9
JJ Guy, fiddle; Vic Mullen, Banjo, Mandolin, Lead Guitar, 2nd Fiddle; Hank Ukrainetz, Double Bass; Lucas Welsh, Lead & Rhythm Guitars, 3rd Fiddle, Dobro
Produced by Lucas Welsh; recorded at Keytrack Studio; Mastered by Wes Friesen; http://www.jjguy.ca or mailto:firstname.lastname@example.org
Tracks: Cadillac*; Sushi; Maytwayashing Waltz; Big Al's Hornpipe*; Dixie Hoedown; Denver belle; A Long Goodbye*; Polar Bear Jig / Saskatchewan Jig; Sherbrooke reel / St Anne's reel; Maiden's Prayer; Route 15 / Courting Days 2 Step; Clarinet Polka
Cadillac (JJ Guy) - After travelling with my good friend, and bass player, Hank Urainetz cadillac to a fiddle show, we got snowed in at his place for a whole day, with all that time on my hands, I decided to write this tune.
Sushi (K Baker) - This Kenny Baker tune was shown to me by my good friend and legendary Canadian musician Vic Mullen. I fell in love with the tune right away and feel so honored to have vic playing banjo and mandolin behind me on it.
Maytwayashing Waltz (R Bouvette) - I think this is one of the prettiest waltzes ever written, but the background arrangement is what really makes this tune stand out.
Big Al's Hornpipe (JJ Guy) - Al Wheatley is a good friend of mine, who is a great singer and plays guitar with me quite often, he has always supported and encouraged my fiddle playing.
Dixie Hoedown (J McReynolds) - This fiddle duet with Vic Mullen was another tune shown to me by Vic as well. Vic Mullen has had a big musical influence on me, so to have someone of his stature playing with me, is a big thrill for me!
Denver Belle (K Baker) - This is one of those nice flowing tunes that just makes you feel good.
A Long Goodbye (JJ Guy) - I wrote this tune after watching a movie with Sean Connery in it. There was a touching funeral scene, after the movie I was inspired to write this tune.
Polar Bear Jig (R Bouvette) / Saskatchewan Jig (G Townsend) - I enjoy playing tunes that have a 6/8 beat, and I really like these 2 jigs. Despite being a really good tune, I couldn't pass the chance to record the Saskatchewan Jig, being born and raised in Saskatchewan.
Sherbrooke Reel (trad) / St. Anne's Reel (trad) - A couple of traditional french Canadian reels that have a nice pop to them that I like.
Maiden's Prayer (B Wills) - This is a slow Bob Wills swing tune that everyone seems to like. I always get asked to play this one when I'm performing, so I thought I'd record it.
Route 15 (R Bouvette) / Courting Days 2 Step (A DeJarlis) - A couple of 2 steps from great legendary Manitoba fiddlers Reg Bouvette and Andy Dejarlis that seem to go really well together.
Clarinet Polka (trad) - This is a popular polka played at many of dances and still one of my favorite tunes to play
JJ Guy, fiddle; Vic Mullen, Banjo, Mandolin, Lead Guitar, 2nd Fiddle; Hank Ukrainetz, Double Bass; Lucas Welsh, Lead & Rhythm Guitars, 2nd Fiddle, Dobro; Trent Bruner, Piano
Produced by Vic Mullen and JJ Guy; Mixed and Mastered by Wes Friesen at Keytech Studio.
Tracks: Buffalo Gals; Indian Killed a Woodcock; Waltz for Larry Rose*; A For Ray**; Bossman; A Frush First Change* / Dad's Favorite Jig; Slow Rain*; Hall road Swing; Carter "Medley" (Wildwood Flower / Gathering Flowers / You Are My Flower; Farmer's Schottische; Tear Drop Waltz; Chicken In The Hay*; Doreen's Breakdown
** Mathew Johnson & JJ Guy
JJ Guy sends a huge thanks out to Vic Mullen for all his time, effort and knowledge put in to this project. Thanks to Hank Ukrainetz, Lucas Welsh and Trent Bruner for playing on this album. To Wes Friesen for the time put in to the mastering and meeting my crazy deadlines! Last but not Least, to all my fans, supporters and everyone who has helped me in my career!
JJ Guy, fiddle, harmony fiddle, mandolin, guitar, spoons, shakers, snare drum; Vic Mullen, Banjo, Mandolin, Lead Guitar; Hank Ukrainetz, Double Bass; Joan Mullen, vocals
Produced by JJ Guy and Vic Mullen; Recorded at Malibu Studios by JJ Guy
Tracks: Darling Nelly Gray / Soldier's Joy; Casey Jones (Barn Dance); Wild Side of Life; Romeo's First Change; Silver and Gold Two Step; Big John McNiel; Waltzing Through The Leaves; The Old Spinning Wheel; French Minuet; Seven Step; High Low Schottische; Put Your Little Foot; Heel and Toe Polka / Atlantic Polka, 1st Change; Smile The While
I have been asked, over the years for a recording with all traditional dance tunes, and here it is! While many of the tunes on this album have several different dance applications, others have very specific dances that apply to their particular melody.
Here is a suggestion of dances for the tunes on this album.
Darling Nelly Gray / Soldier's Joy Virginia Reel
Casey Jones (Barn Dance) The Barn Dance
Wild Side of Life Fox Trot
Romeo's First Change Square Dance (First Change)
Silver and Gold Two Step Square Dance (Second Change)
Big John McNiel Square Dance (Third Change)
Waltzing Through The Leaves Walzing Through The Leaves Pattern
The Old Spinning Wheel Two Step
French Minuet The French Minuet
7 Step 7 Step
High Low Schottische Schottische
Put Your Little Foot Put Your Little Foot Pattern
Heel and Toe Polka Heel and Toe Polka
Atlantic Polka 1st Change Old time Waltz
Smile the While
Vic Mullen: for all the knowledge and skill you have passed along, not only on this project but threw (SIC) the years.
Gordon Stobbe: For the encouragement to record this project, and answering my recording questions.
Hank Ukrainetz: For the fine bass playing
Lindsey Sunderland: For all the time sacrificed on my music career.
Joan Mullen: For the vocal work on "Smile The While" and the idea for the cover.
Emma MacDonald: For taking the pictures, thanks sis.
And to all the people who have supported me threw out the years, thank you so veryk much! Hope you enjoy the CD.
Canada’s Champion Fiddler 1958 and 1959, Rodeo RBS 1064
Tracks: York County Hornpipe; Westphalia Waltz; Jenny Lynn Polka; Smash The Window Jig; Whiskey Before Breakfast; Mason’s Apron; Sharron Waltz; Skiffle Fiddle; Cross of Inverness; Blue Water Hornpipe
Tracks: York County Hornpipe; Westphalia Waltz; Jenny Lynn Polka; Smash The Window; Whiskey Before Breakfast; Mason's Apron; Sharron Waltz; Skiffle Fiddle; Cross of Inverness; Blue Water Hornpipe
Ed Gyurki, fiddle; Phyllis McDowell, piano; Carl Keiswetter, guitar; Earl Fries, bass; Fred Emmerson, drums
Produced by Ed Gyurki; Recorded at Mercy Bros. Studio
Tracks: Cape Blomidon Reel; Silver Wedding
Waltz; Rippling Water jig; The Shelburne Reel; Carlton County Hornpipe;
Cape Breton Jig; Snow Flake Breakdown; Memory Waltz; Angus Campbell; Allan's
Ed Gyurki, whose name is familiar to most fans of old time fiddle music across Canada has won top honours in almost every major Fiddle contest in Ontario. His greatest claim to fame has been winning the Canadian Open Fiddle Contest in Shelburne, Ontario an unprecedented five times as well as being in the top three of the other eighteen years he has taken part in the competition.
Having appeared in Country Hoedown, the Don Messer Show and more recently on my show Gemutlichkeit, I take great pleasure in presenting to you this album with Ed playing his Contest Favourites.
Ed Gyurki, violin; Glen Paul, piano; John Forest, bass; George McKay, drums
Recorded at Mercey Bros Studio, Elmira, Ontario; Engineered by Paul Mercey; Produced by Ed Gyurki and Rob Assalstine
Tracks: Oxford County Reel; Ernie’s Stomp; Homecoming Two Step; Lenen’s Waltz; Joanne’s Schottische; Northern Trappers Hornpipe; John Forrest Waltz; Plowman’s reel; Red Feather Jig; Musher’s Reel
Ed, a life long resident of Woodstock, Ontario, offers this album as a tribute to his home town which is celebrating "Homecoming" a centennial project of the local Chamber of Commerce during the summer of 1977.
This records is a collection of Ed's original compositions. I'm sure you will agree he is indeed a virtuoso amply demonstrated once again on this album.
Little wonder he has been awarded - a record six times the prestigious title - "Canadian Open Old Time Fiddler", at the competition held annually at Shelburne, Ontario.
Ernie LaPalme, Chairman
Canadian Open Country Singing Contest
Tracks: Cape Blomidon Reel; Silver Wedding Waltz; Rippling Water Jig; The Shelburne Reel; Carlton County Hornpipe; Cape Breton Jig; Snow Flake Breakdown; Memory Waltz; Angus Campbell Reel; Allan’s Reel
Ed Gyurki, fiddle; Glen Paul, piano; Carl Kees, guitar; George McKay, drums
Produced by Ed Gyurki; Engineers: Dave Barber and Jim Evans; Recorded at The Waxworks Recording Studio, St. Jacobs, Ontario
Tracks: Clarinet Polka; Old Box Stove; The Last Waltz; Pioneer’s Dream - Whiskey Before Breakfast; Mrs Watson’s Henhouse; Skiffle Fiddle; Miami Breakdown - Barclay House Breakdown - Crystal City Breakdown; Linda’s Schottische - Grant Lamb’s Breakdown; Messer Memorial Waltz; The Weeping Heart; Winding Stream (Miss Thornton’s Reel); Sunday Morning Jog*