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Mark Evans

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About Mark Evans

  • Birthday 03/13/1954

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    Milford, MA.

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  1. Rest in peace Leo. I truly enjoyed your postings.

  2. Hello Steve,

    I used to go to the Stone's session often. Very high level of playing and friendly. If you're bringing your singing voice, they will be very happy indeed.

    English concertina is welcome and as the evening goes a bit, they are more than willing to stray off the beaten path to embrace anything you might want to play.

    Leader of the session is ...

  3. I just think it's important that folks who otherwise might go unsung, should be. And yes, they are mostly very complementary, even when the should just tell the ole White Rabbit the truth.
  4. Rod, you do have your own definition, and I'd love to hear it fleshed out. My lack of religion outside of music, causes me to turn time and time again to religious terminology to discribe what I need from the act of music making. A tunesmith for me is a Shawman (sp for sure), a clarvoiant who sees past what is easily preceivable.
  5. Ah, the website...I've not done anything with it in months. We are recording and some of them will appear before too long.
  6. For the last year in a quasi-casual fashion and within the last few months like a maddened beaver I have been consuming new tunes by two fellers at our local session: Greg Bacon and Brian Hebert. I wouldn't insult them by afixing the term "composer" for they seem to see what they do in a much simpler light. Tunesmith seems right to me. Both have turned out beautiful tunes that are within traditional veins. Greg tends towards an historical and nautical bent while Brian's tunes take on whimiscal names. Both are grounded in the finest Celtic tradition. It just blows my mind that these lads come up with tunes that on one hearing capture the imagination and make people put down their pints and listen. I took the theory and composition classes and everything I turned in for a grade was pure unfiltered sh#*t! Couldn't write a decent tune to save my sorry backside. They both have taken the time to transcribe their works to dots so a dodger like me can quickly get my digits around them. It certainly convinces me that Celtic traditional music is a living tradition. I've learned not to be a pain in the arse and inflict my discovered treasures on the early evening session, but late night part II is a time to let the good times roll and some very interesting music making happens. The session is blessed in that those two are not the only fine tunesmiths we have. Graham Patten, his mother Connie, Jim Buchanan and George Arata all have some fine tunes. Brian transcribed one of Connie's tunes and I sprung it on her unawares last week. She was cocking her head from side to side and son Graham came right in. It just profoundly impresses me, as it is a labor of love, not a comercial interprise or some outlandish need to become immortal through one's compositions. It's simple and good. Very little left of that around these days.
  7. ... and what does that have to do with phrasing? Let's clarify three things here: 1. Automatic fingering based on bellows change and so forth does influence the style. 2. I agree that it has little to do with artistic interpretation per se, however, in-out of the bellows is one of the most powerful phrasing instrument we have. It includes two variables: a. In-out itself, no need to blabber about it and b. Necessity of in-out influences dynamics of even phrases fingered in one direction. Our brain gets ready for bellows change and either we may slow down, or do a powerful punch right before the change/ or whatever else. It seems to be out of our control, yet gives music a feel. 3. When someone like Danny Chapman enters discussion, we need to switch gears. Our usual definitions, like "good job", "wonderful playing", "expressive dynamics" - have to be toned down quite a bit. To Danny I answer: "Danny, you are right, there is NO automatic phrasing in Anglo". But to lesser players like myself I will whisper: "Yes there is". Now that's the Misha whose postes I love to read. Danny does necessitate a change of gear...and then we still have no chance we'll ever appear in his rear view mirror.
  8. Larger, yes. Wider? No. The interest in Irish trad is huge, but quite narrow. Point taken Jim.
  9. Wicked, wicked lad ye are! The blood has barely dried on the deck from our last punch up. This one has potential. EC and AC are each played in numerous styles. Both have limitations and advantages. Some are more prevelent and preferred in one genre of music over another. Certainly the AC enjoys a wider popularity due mainly to the explosion of interest in Irish trad.
  10. I'm talking about folks like this, among others, all of whom I've played with, talked with, and danced to. They do not fit your description at all. Foghorn Stringband The Macrae Sisters The Tallboys Boney, Always knew you had excellent taste. These folks are a treasure. All true to their tradition and yet, and yet...wonderfull. Thank you. I'm deeply moved.
  11. Whether I like it is the issue....to me. I'm very used to this virtuosi thing you've got going, framing the topic to your standards, showing folks the road to salvation from their low tastes. There is something magnificent watching you jump upon the slathering, lumbering beast, slashing away with your saber, as the enraged creature howls, but that video....it was an assult and dumbassed ole me weathered the storm striving to see your point, because in the past there was some point grounded in musicallity wether or not I agreed. Damn near soiled my new linen trousers. I had a fat old Persian cat that loved to mince across the piano keyboard each morining on her way to her morning bowl of chow. It was chromatic, gentle on the ears and charming. This other cat was just a chromatic fire bomb hurled in my direction.
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