We Are the Mariners – Bonhomme Richard

In the early nineties, when I was fairly new to the Mariners, I decided that I wanted to write a medley. I had already played once at the Roman amphitheater in Augusta Raurica in 1990, didn’t think we were very good, and decided that for our trip back to Switzerland in 1994 we needed some new music. So, I began work on what would become known as Bonhomme Richard and the Serapis.
 
Bonhomme Richard and the Serapis
 
I was in college at the time and did most of my writing in the car. I worked as a calzone delivery guy and spend hours driving around campus. In between deliveries, I would work out a few notes at a time then drive with my knees and play the penny whistle on my way to the next stop. It took months but ultimately I ended up with a medley that was a mix between traditional sea chanteys and original tunes.

The medley was welcomed into the Ancient Mariner repertoire and has remained their ever since, which, as I’ve learned over the years, is not typically the course for new music. The Swiss Mariners, on the other hand, were originally much less eager to learn it. However, after hearing it again in 2004 they had newfound interest in the piece.
 
The Mariners
 
After thirteen years, and for the first time ever, the Ancient Mariners and the Swiss Mariners played Bonhomme Richard together, thus solidifying its place in the Mariner repertoire. It is the one contribution to the corps that I am most proud of. The icing on the cake is that everyone seems to really enjoy playing it.
 
Sunny Augst
 
So, a heartfelt thanks goes out to my Swiss friends. Standing with you and performing this together was a real highlight, not only of the trip, but of all my Mariner days. Thanks.

We Are the Mariners – Wettsteinmarsch

Swiss Drum
 
People often wonder why we travel all the way to Switzerland to play music. Incredibly, Switzerland, and I am speaking most specifically about Basel, has an amazingly rich tradition of piccolo and snare drum, which can be seen annually in their colorful festival called Fasnacht.
 
Fasnacht
 
To an outsider the music may seem similar to American fife and drum. The literature, style and instruments, however, are all different. They are different sort of like how jazz is different from the rock’n roll. Throw a rock guitarist into a jazz band and without the proper experience he will likely flounder. Yet, there are enough similarities that will make the jazz-rock crossover intriguing. The same is true for American fife and drum and Basel piccolo and drum.

In addition, just about everyone I’ve met in Basel plays either the drum or piccolo. It is serious business. Consequently, many people from Basel are interested in hearing American fife and drum music. As a result, American fife and drum corps have been sprouting up in Switzerland over the last couple of decades. Likewise, we love to hear their style of music.

Fortunately for me, there was a piccolo and drum band, or clique, performing on the evening of our arrival. Incidentally, one of their piccolo players is also a member of the Swiss Mariners. So, the first bit of music I heard in Switzerland was actually Basel style music. It was a nice way to start the trip. The final piece the clique played is called the Wettsteinmarsch, which is a very well known tune in Basel, named after one of the main city bridges that crosses the Rhine. If you listen closely you will notice that they do not have bass drums, as they are not part of their tradition. Instead, you will notice, their snare style shifts abruptly between very soft and very loud much more so than our style of drumming. Also, I love hearing the high piccolo harmony that plays above the melody. Our American fifing very rarely has harmonizes in such a way.

So, the recording that I captured here is of the clique named 1884, which is an offshoot of another famous clique named VKB.

Let me warn you; I took some liberties with this recording. Hours after we heard the Swiss perform, the Mariners were in the Baggenstos cleaning their mugs with beer. My buddy Joe thought it would be a good idea to play the Wettsteinmarsch. Problem is, he does not know how to play it. So, as an intro to the Swiss playing on their native instruments, I’ve merged in the results of Joe’s attempt at playing this Swiss classic for our Swiss friends. I love how relentless the Swiss drummers are here. Joe played all of eight notes and the drummers jumped on his lead and continued on without him and, ultimately, the entire Baggenstos continued without him. What fun.

Wettsteinmarsch by baconworks

We Are the Mariners – Drummelhund

Augst Concert
 
Above is a nice picture of the Roman amphitheater in Augst, beautifully lit, while we were playing. The picture was taken from behind the stage at the top of a large set of stone steps. This amphitheater was the stage for a new fife solo that my buddy Joe and I had been working on. Below is the video of our performance in Augst.

We were slightly out of sync for the first couple of notes but other than that we were very happy with this performance. It was our very first time in front of a real audience with this piece. The day before we played it at our dress rehearsal in front of the Swiss Mariners for the first time. It was a complete disaster. We did not even finish the piece during the rehearsal. So, I guess it is fair to say that we went into this performance with a bit of apprehension. Just before playing for the crowd of twentyfivehundred people we looked at each other and said, “Ok, were back in Natick”.
 

Drummelhund in Switzerland

Back in 1992 I wrote a tune that I called Drummelhund. Drummelhund is a Swiss German word that derives from ‘trommel hund’, which literally translates to ‘drum hound’.
 
drummelhund
 
I first heard the word as a nickname that was given by our Swiss friends to an energetic American drummer named Todd Kennedy.

In preparation for our upcoming Swiss trip, I thought I would dust off the tune and give it some new life as a fife duet. I started writing variations that included hornpipes, jigs, Major, minor, inverted melodies, fermatas, Swiss staccato and culminating with the original reel, plus or minus a few notes. After a whole bunch of half-baked ideas and re-writes … Shabam! A medley.

My buddy, Joe Mawn, and I have stolen a couple of lunch hours in the hopes that it will all come together for our Swiss concert in August. So far things seem to be progressing nicely. I’ve even had a co-worker tell me that during his lunchtime jog around the neighborhood he was able to step in time as he heard us in the distance.

I hope to have a recorded version that I can post at some point. In addition, I plan on eventually posting the sheet music. Until then, here is the hokey computer generated rendition to give you an idea of what it is going to sound like. Unfortunately you don’t get to hear the fermata or the Swiss staccato or all the lovely ornamentation that ultimately grows onto a piece. You’ll just have to come to Switzerland to hear those details.

Sally McKnight: Call and Answer

Clam DiggerAs a child I spent many a summer day on the coast of Maine. More than a few of those youthful days were spent on the clam flats. While my father, who was perpetually hunched over pealing back the salty mud with a hoe, methodically filled a pair of hods with his finds, I scurried around the flats trying to find trouble. To an outsider the flats don’t look like much; Miles of nondescript mud, an occasional outcropping of seaweed covered rock and horse flies large enough to serve up with a badminton racquet. But, to a boy, it is a wonderland. Hand me one of them little red plastic buckets and a yellow shovel and I was off to the races.

If I was clever, I might catch some tiny fish schooling in the warm tidal pools. If I was lucky, I might find a horseshoe crab waiting for the sea to return. If I was creative I might collect the most beautiful shells you’d ever see come out of Sagadahoc Bay. And, if I was brave, I would make my way over to the seaweed covered rocks and confront some real danger.

crab It is well known that underneath the slippery green growth there are critters that are both feared and fetching to little boys. Dare to stick your fleshy little fingers into the thick tentacle like marine algae, lift it back and prepare to react, for you may reveal the pièce de résistance. Behold the Liocarcinus Vernalis, otherwise know as a vernal crab. Fierce little monsters equipped with their own amour and built-in weapons. I might as well have found gold.

I’ve learned through the years that the crab hunting gene is passed from generation to generation. My father hunted them as a boy and my five year old is already bolstering his courage in preparation for this summers journey to the flats.

Why am I telling this story? Well, one, because it holds fond memories for me. But that is not actually reason I wanted to share it. It struck me that finding good music is sometimes like traipsing through the mud, over to a promising pile of seaweed covered rocks and pealing back the layers to see what you can find. Most of the time you find more rocks and mud. But occasionally you find something that strikes you as magical like a crab or maybe something really special like a starfish.

starfishThis brings me to my actual point. A while back I wrote about a Hammered Dulcimer player that sang a beautiful song called The Call and the Answer. Her name is Sally McKnight. The moment I heard her sing I thought, ‘wow, people need to hear this’. Fortunately for all of us she agreed to do some recording and the other evening, as I was leaving the recording session at her home, it occurred to me that I’ve just peeled back some covering and found something really special.

No, Sally is not a crab in a pile of seaweed. Maybe it is not the best analogy. I am certain, however, that after listening to the way she harmonizes the dulcimer with her singing, hearing the crispness of her playing, and basking in the warmth in her voice you will agree that she is a star, and, I for one, am thrilled to show you what I’ve uncovered.

 

Skip and Friends

I had a great time playing tunes with Skip Healy this weekend at a benefit concert for the Juniors Fife and Drum Camp. I was hoping to get a good recording hot off the soundboard, but for a variety of reasons was not able to set it up. Instead I had to settle with recording with a single room mic. This is far from a perfect recording but I think it captures the energy. I had to fade the track out because there was some serious feedback in the later part of the track.

The whole gig was lots of fun and well received. I had never performed with Skip before and, therefore, had no idea where any of it was going, which of course, adds to the excitement. In addition, Skip’s style is to play the tune reasonably straight the first time through, but then begin to use the tune as a skeletal structure and move around it. Sometimes it can get way out there, which is really cool. This track stays relatively close to home but you will here some of the improvisational nature toward the end of the track.

In addition to Skip on flute, Mark Bachand on bodhran and myself on guitar, we invited Roger Hunnewell up to play some additional bodhran. Roger starts the track with a bodhran solo, unsure of where Skip will come in. You will hear rattling behind some of the first beats that Roger plays. The rattling is from the twenty, or so, rope tension snare drums sitting behind us on the stage. They were sympathetically playing along. Also, every so often you’ll here Skip pause for a note and call out a key change. Nothing like having a plan.

Concert with Skip Healy

Skip
 
I’m excited to announce that I will be performing this Friday evening with a phenomenal flute player named Skip Healy. Skip is a world class musician who has performed with a variety of legendary musicians such as Paddy Keenan, John Doyle, Kevin Burke and Johnny Cunningham, to name just a few. Skip is also an instrument maker who is turning out some beautiful fifes and flutes at his Healy Flute & Fife Company.

The performance is a benefit concert for The Juniors Fife & Drum Camp at the Company of Fifers and Drummers Hall, 62 North Main St., Ivoryton, CT. There is $10 admissions charge. The concert is on Friday, June 8th and starts at 7:00 PM.

Einstein Lives and He Plays the Bouzouki

Einstein George
 
I know, your thinking, ‘Ghezzz, I had no idea Einstein played the bouzouki’. Well, neither did I. But surer than shaving cream he sits in on our session every Tuesday evening at John Stone’s. He, of course, goes by the alias George and will not show me the time warping vehicle he used to propel himself into the present, but I can assure you, here he is. You can see for yourself on his MySpace page where he is seen playing the guitar and includes a few great tunes he wrote.

Einstein … err…George, or as I like to call him, Mustachio, wrote this beautifully mellow tune called Anna’s Dream, which he has graciously allowed me to include on my site.

You can hear more of Mustachio’s playing on a real nice album called The Artery Project. He is the one standing in the middle but since the picture is so small you’ll have to trust me on this one.
 
Artery Project

Someday, if we are lucky, we may hear Einstein in a Plùc recording (we convinced him to join the band). Until then, come on down to Stone’s for a pint and a glimpse of the genius himself.

Mash-up, Morph, Mung

Mighty Bee of Ynturest
 
Mash-ups are all the rage when it comes to web sites. But the idea is not new. People have been taking disparate ideas and mashing, morphing and munging them since the dawn of gray matter.

Well, last night I was morphed, munged and maybe a little mashed. I’m pretty excited about it. My friend Luke found the Screaming Wretch, which Plùc now refers to as Touretts Jig, and molded it into an electronic wonderland. Luke’s instrument, you see, is the computer and with tools like Reason from Propellerhead Software he can make just about any sound he would like.
 
reason
 

Within a few hours Luke worked my wretched melody into something entirely new and exciting. He is, of course, very self deprecating about his talents and quips that I was only ‘mildly amused’ when he told me that he was playing around with the tune. This, of course, is a bold faced lie that, in time, I might forgive. Apparently he did not want the fact of my elation get in the way of his good story.

In any case, check it out. Screaming Wretch Redux (Tribal Bacon Mix!) by Luke Stark. It rocks!

Castaway: Blackwater Tide / Licking the Moss

blackwater
 
Back it 2001 I was on a kick where I would go into a studio once a month and record. The one month interval was working well since it would give me time to both save money for the session and plan out what I was going to work on. After several months, however, I got a bit lazy and found myself unprepared for a session I had the following morning. Slightly panicked, I pulled out the flute on the evening before the session and was inspired to write the first of the two tunes included here. The first tune in the set I named Blackwater Tide. The second tune, which I wrote in ’99, is called Licking the Moss. This is one of those recordings that is part of the Castaway album.
 
bw1
 
Blackwater Tide seemed to be an instant hit. The Sudbury Ancient Fife & Drum Companie started a new medley, called Blackwater Indeed, with the piece. The Company of Fifers and Drummers included the tune in their latest music book with a drum part written by Dom Cuccia, a former Hellcat. Most recently the Bluff Point Quahog Diggers Fife & Drum is working it into a new medley that I think they are preparing for this summer!

It is fun to see a tune make some rounds.

For the first time I am publishing the harmonic arrangement for this tune. When I get a chance I will record the arrangement and post it here as well.