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Voyager Recordings & Publications
DANCE MUSIC RELEASES ON VOYAGER
Marc Savoy - accordion, Dewey Balfa - fiddle, D. L. Menard - guitar
Eunice One-Step, Tolan Waltz, Old Crowley Two-Step, Chère Petite, Church Point Breakdown, La Branche du Mûrier, Perrodin Two-Step, La Valse À Macareau, Cajun Flop-Eared Mule, Viens Me Chercher, La Valse de Pont D'Amour, J'Suis Parti À Lafayette, Les Haricots Sont Pas Salés
In the 1970s, Marc Savoy, who had made several visits to the Pacific Northwest, decided it was time to make a recording featuring his incomparable Cajun accordion styling on accordions he made in his shop in Eunice, LA. We shipped studio recording equipment to Mr. Savoy, and this recording was made in his house on a Revox HS77 by John Watt. This is some of the best traditional Cajun dance music ever recorded, played in the traditional, acoustic, manner by three masters of this music.
Vivian Williams - fiddle and piano, Pat Spaeth - accordion and piano, Phil Williams - guitar and mandolin
Lightning Hornpipe/Mary Clair, French Fries and Gravy/Union Street/Thingamajig, Brahms Polka, Starry Nights and Candlelight, Farewell to Whiskey/The Groundhog Saw His Shadow, Peacock Rag, Tour of Puget Sound, Fittro's Folly/Golden Rooster/Swinging on a Gate, Oyster Shucker's Jig/ Smash the Window/Maggie Brown's Favorite, Crystal Schottische, Tracie's Two-Step, Larry's Waltz
Vivian, Pat, and Phil have played for old time dancing - ballroom, pattern, folk, contra and square - most of their lives and are regarded as among the most experienced dance players in the region. This recording features a variety of danceable tunes, both traditional and recently composed. The tunes are played long enough for dancing.
"Straightforward, no tricks dance music, played with skill by folks possessing a wealth of knowledge and healthy respect for the tradition." (Victory Review).
Derek Booth - English concertina, melodeon; Liz Dreisbach - clarinet, sax, recorder, whistle; Phil Katz - melodeons; Arne Reinert - flute; Erin Shrader - fiddle; Pat Spaeth - piano.
Quindaro/St. Joseph's Reel; Old Joe's Jig/Kesh Jig; Round the Horn/Jackie Tar/Goodnight and Joy Be With You; Upton-on-Severn/Tripping Up Stairs; Bouchard's Hornpipe/Eggnog Reel; My Birthday Waltz; Bus Stop/Lady Anne Montgomery; The Sweets of May/Devlin's Jig/Seven Stars; Far From Home/Miss Thompson's Hornpipe/Owen's Reel; Belknap's March/Jimmy Garson's/Louise's Parlor; Dirty Newfoundlander/Cooley's Reel/Mate's Reel; Waltz: Ye Banks and Braes
Great contra dance music! From December 1980 through February 1994, Salmonberry produced and played for a contra dance on the second Saturday of every month in Seattle, Washington. The style of playing was inspired by several New Hampshire and Vermont musicians and bands, by the transplanted contra dance music evolved in the San Francisco Bay area, by several English regional traditions, and by the adaptation of Irish styles to contra dance playing. This CD was recorded live at the May 11, 1991 dance
Vivian Williams - fiddle, Harley Bray - banjo, Phil Williams - mandolin & bass, Shera Bray - guitar
Dance All Night With a Bottle In Your Hand, Glise de Sherbrooke, Old Joe Clark, Chinese Breakdown, Jenny Lind Polka, Tennessee Grey Eagle, Sugar in the Gourd, Sam and Elzie, Beethoven's Favorite Waltz, Cheat or Swing, Redwing, Cock of the North, Leather Britches, Arkansas Traveler, Golden Slippers, Chinky Pin, Sweet Bunch of Daisies, Turkey in the Straw
This is a CD for good old time square dancing, with a couple of waltzes, a jig, and a polka thrown in, just as at a typical Western old time country dance. The fourteen hoedowns are played long enough for most callers. While Williams & Bray have been playing together as a band only since 1985, its members have over forty years experience playing bluegrass and old time dance music. Vivian Williams is one of the West's best known dance fiddlers with many national, international, and regional fiddle championships as well. Her husband, Phil Williams, has been doing these dances ever since he was a small child. While he plays almost anything with strings on it at a dance, here he sticks to mandolin and bass. Harley Bray played banjo in the mid 1950's and early 1960's with The Bray Brothers & Red Cravens, also known as The Bluegrass Gentlemen. Two of the recordings made by this band are still in press as CDs, and still influence present day bluegrassers. He is one of the true masters of bluegrass style banjo. On this recording Harley's wife, Shera Bray, sticks to guitar, but in real life she also plays mandolin and fiddle, and even calls dances! A lot of the tunes on this CD are a part of America's old time dance music heritage. A few are relatively unknown. All of them are played by Williams & Bray at country dances in the Pacific Northwest. So, get on your dancing shoes and let's all have a good old fashioned hoedown!
Vivian Williams - violin, cello; Phil Williams - guitar, mandolin; Paul Englesberg - wooden flute, silver flute, flageolet, concertina; Phil Katz - button accordions; Allen Hart - fretless and freted banjos; Terry Wergeland - melodeon
German Waltz, Polka from Sch. Barnhard of Florence, Dartmouth Sett No. 8 Figure 1, Dartmouth Sett No. 8 Figure 2, Dartmouth Sett No. 8 Figure 3, Dartmouth Sett No. 8 Jig, Banquet Waltz, Schottishe from Henry Redberg, Polka Mazourka, Evening Star Waltz, Seven Up Schottish, Dearest Mae, The Meeting, Lucy Long, Fi Hi Hi, New Russian Mazourka, Coral Schottische, Secreto from the opera of Lucretia Borcia, Versouvian No. 3 from Mr. Bellow, Quadrille Sett No. 1 Figure 1, Quadrille Sett No. 1 Figure 2, Quadrille Sett No. 1 Figure 3, Quadrille Sett No. 7 FIgure 3, Kate Karny Waltz, Medley of Quicksteps by A. Draper
In 1862, gold was discovered on Warrens Creek in Idaho, about 40 miles NW of present McCall. The resulting gold rush brought over 5,000 miners to "Warren's Diggins," mining camp. A flute player named Peter Beemer started collecting and writing down tunes for a dance band he was forming. He had folks hum or sing their favorite dance tunes, got some tunes from itinerant music teachers coming through the camp, and other tunes from musicians who had come to Warrens. These tunes were written on foolscap paper by hand, Mr. Beemer hand ruling the staves. He developed a manuscript of 124 tunes for his dance band to play for the regular Saturday night dances at the tavern of fiddler Charles Bemis. The band was composed of two fiddlers, flute, button accordion, banjo, and an unidentified sixth member. The manuscript survived, and was discovered and published by Vivian. It is the only manuscript of what a dance band actually played for dancing in the West in pioneer times. For more information go to The Peter Beemer Manuscript. The tunes are for the dances of the day - quadrilles, polka, schottische, waltz, mazurka, varsouvienne, and other ballroom dances of the period. The music ranges from a few well known square dance tunes, to challenging tunes, most of which have not been familiar to fiddlers for many decades. This recording presents a selection of 25 of the different types of tunes in the manuscript. See the Liner Notes for more details.
Vivian Williams - violin; Terry Wergeland - piano, flugelhorn; Phil Williams - guitar
Cornflower Waltz, Schottische, Angelina Quadrille Figure 1, Angelina Quadrille Figure 2, Angelina Quadrille Figure 3, Angelina Quadrille Figure 4, Angelina Quadrille Figure 5, Waltz Without a Name, Slumber Polka, Mazourka by W.E.C., McCoy's Waltz, Les Rats Quadrille Figure 1, Les Rats Quadrille Figure 2, Les Rats Quadrille Figure 3, Les Rats Quadrille Figure 4, Laura Schottische, Unnamed waltz No. 1, Helter Skelter Gallop, Varsouvienne by W.E.C., Sallie Water, Unnamed waltz No. 2, French Lancers Quadrille Figure 1, French Lancers Quadrille Figure 2, French Lancers Quadrille Figure 4, French Lancers Quadrille Figure 5, Waltz from J. Woolsey No. 3
These tunes were played for dancing in the Willamette Valley, Oregon, in pioneer days. They come from The Haynes Family Manuscript, which was written by, played from, and handed down through several generations of the Haynes, Shuck, and Adams families. They came to Oregon over the Oregon Trail in the middle of the 19th century and settled on Chehalem Mountain, southwest of Portland. The manuscript gives a fascinating glimpse into the music played for community dances in the pioneer West. The CD includes 26 tunes from this manuscript, including waltzes, polkas, schottisches, a gallop, and three quadrille sets arranged to fit standard quadrilles (square dances) of that time. Five tunes in this manuscript also are in The Peter Beemer Manuscript (see above), showing that these were the common dance tunes of that era in the Far West. The tunes are quite different from what historians have assumed were played here for community dances. While they were being played by common folks - millworkers, farmers, miners, orchardists - many of them require classical training to play.
The tunes are performed on violin, piano, guitar, and flugelhorn by a trio of musicians who have play dances together - square, contra, and ballroom - for over twenty years, and who are among the best performers of 19th century popular dance music, particularly the dance music of the pioneer Pacific Northwest. See the Liner Notes for more information about this recording.
The above releases were recorded for dancing as well as listening. Many of our other releases have selections suitable for dancing, especially the Northwest style, Scandinavian, and our Cajun style releases.