Bertram's new CD: The Bellow and the Bow

[BertramLevy]

Bertram"s new CD: The Bellow and the Bow

 

I am very pleased to announce that my new CD “The Bellow and the Bow” is now available. It is pure concertina and fiddle duets with Kirk Sutphin the undisputed master of the Round Peak southern old time fiddle style. There are twenty-two tunes including a few banjo cuts. The tunes were chosen from the broad spectrum of the North Carolina, Virginia and West Virginia fiddle repertoire to demonstrate the great potential of the anglo concertina. They include breakdowns, reels, marches, songs and minstrel melodies that span three centuries. We recorded it in an old tobacco barn in North Carolina in March when I was there on tour. It swings like this music should and is a clear representation of my vision of the role of the anglo concertina in the southern fiddle style. A number of the tunes can be found in my new book. If you click on this site , you can hear some samples, read the liner notes and order it if you like.

 

Bertram

Edited June 8, 2012 by BertramLevy

[ttonon]

Bertram"s new CD: The Bellow and the Bow

Hi Bertram,

 

I commend you on your entry into Old Time and appreciate the contribution you make. Until I receive your CD, my comments must be limited, but let me start by saying I myself have long felt that there's ample, unexplored territory for bellows-driven free reeds in Old Time. (Many of us are already familiar with the astonishing contributions from harmonica players.)

 

Going only by the samples you provide, I'm surprised at how well the sound of the fiddle and free reed combine, sometimes becoming indistinguishable. In fact, the two sounds themselves are essentially indistinguishable, inside a steady tone, without the start transient. But music is much more than steady tones, and from my own experimentation, the difficult part for the bellows player is the rhythm, wherein there must be complete, instantaneous control of the bellows and exquisite coordination with note selection and de-selection, and with accent.

 

I look forward to hearing the entire CD, when I will be able to get a good feel of the music. I do have one question. Did you have any particular reason for not including traditional rhythm instruments, such as guitar and/or banjo? I myself sense the missing accompaniment, without which the true drive of the music is just not there. Also, I think the rhythm accompaniment would make it, in some sense, easier for the free reed to blend into the genre. You two guys could've ridden on top of the hay wagon with others, instead of walking by your lonesome. But maybe that's precisely the image you went after? In any event, thanks for the music.

 

Best regards,

Tom

www.bluesbox.biz

[Bruce McCaskey]

Bertram,

 

I've placed an order and I look forward to listening to your new CD. Love the look of the label.

Edited June 8, 2012 by Bruce McCaskey

[BertramLevy]

Bertram"s new CD: The Bellow and the Bow

Hi Bertram,

 

I commend you on your entry into Old Time and appreciate the contribution you make. Until I receive your CD, my comments must be limited, but let me start by saying I myself have long felt that there's ample, unexplored territory for bellows-driven free reeds in Old Time. (Many of us are already familiar with the astonishing contributions from harmonica players.)

 

Going only by the samples you provide, I'm surprised at how well the sound of the fiddle and free reed combine, sometimes becoming indistinguishable. In fact, the two sounds themselves are essentially indistinguishable, inside a steady tone, without the start transient. But music is much more than steady tones, and from my own experimentation, the difficult part for the bellows player is the rhythm, wherein there must be complete, instantaneous control of the bellows and exquisite coordination with note selection and de-selection, and with accent.

 

I look forward to hearing the entire CD, when I will be able to get a good feel of the music. I do have one question. Did you have any particular reason for not including traditional rhythm instruments, such as guitar and/or banjo? I myself sense the missing accompaniment, without which the true drive of the music is just not there. Also, I think the rhythm accompaniment would make it, in some sense, easier for the free reed to blend into the genre. You two guys could've ridden on top of the hay wagon with others, instead of walking by your lonesome. But maybe that's precisely the image you went after? In any event, thanks for the music.

 

Best regards,

 

 

 

 

Tom

www.bluesbox.biz

[BertramLevy]

Hi Tom

 

First thanks for your order I sent it out today I will be interested in your comments after you have heard the entire CD. For sure I could have added a guitar or banjo but I wanted to do a duo for several reasons.

 

First I love the fiddle-concertina duo and have for years enjoyed performing in this format going back to the days of the Sageflower Suite with Frank Ferrell. In the duo form there is the greatest musical conversation. I have played old time music in the banjo-fiddle duo for over fifty years and this is the feeling I tried to achieve in the present project. For sure it is trickier with a concertina that lacks the strum but this is the great art. In this recording the concertina moves back and forth from melody and harmony lines to chords and moving bass lines. In this way the fiddle is showcased; an important role for the supportive partner. It is very much like bluegrass where each one takes a break.

 

When I am playing melody with the fiddle, I am including double stops and harmony which enhances the drive of tunes.. People who have heard it agree that the project really swings. I hope that this is general impression.

 

Adding a guitar is definitely another dimension, the string band sound. That was not the sound I was after right now. In the future Kirk and I do plan to do a band tour with one of our favorite guitarists Karen Heil but that is for another day. Whether in a duo or trio, the goal is to have the whole be greater than the sum of its parts. Certainly for concertinists, the purity of this duo recording will provide the opportunity to hear the subtly of the concertina arrangements.

 

 

Bertram

[Dan Worrall]

Bertram,

 

I just saw and ordered your CD....am really looking forward to hearing it all. The sound clips are just great. Congrats!

 

I have been working the past few years on the Anglo concertina in its original contect - playing for late 19th century ballroom-style dances in houses, barns and woolsheds around the world, usually in an octave style - and now that that is winding down (my "House Dance" digital book and CDRom of old archival recordings) - I'll make some time to work through your wonderful new book, ever so slowly as it is so different a technique than the older styles of playing. But it is exciting that you are showing the way toward an American old time approach to the instrument. At any rate, the new CD will definitely help!

 

All the best,

Dan

[michael sam wild]

Great clips Bertram. I just ordered it no problem and look forward to receiving it. It should help with the book I got earlier in the year. . Hope you come over on tour, always ready to help in UK

Edited June 11, 2012 by michael sam wild

[Chris Timson]

I also have ordered the CD on the strength of the clips. It reminds me of the CD Paul & Jody - American Songs and Tunes, by Paul Friedman & Jody Kruskal for the same combination of instruments which I really like and which strikes me (as a Brit who really doesn't know what he's talking about when it comes to American traditional music) as heading in the same direction.

 

Cheers,

 

Chris

[michael sam wild]

I've wondered why the concertina (Anglo) didn't survive in folk music in the States , maybe for te same reasons as in England , they couldn't play the new forms of popular music as readily on the simpler German diatonic instrument, or maybe an image thing

 

 

 

When I've taken a melodeon or an anglo to 'old timey' American sessions in England i've had some initially cool reactions. Not because of my musical sensitivity or virtuosity I must hasten to add But I soemtimes see the same looks when a Piano Accordion player goes into an 'Irish' session. Conservatism sets in when music becomes codified whereas new forms of music are often very inclusive

Edited June 12, 2012 by michael sam wild

[ttonon]

When I've taken a melodeon or an anglo to 'old timey' American sessions in England i've had some initially cool reactions. Not because of my musical sensitivity or virtuosity I must hasten to add But I soemtimes see the same looks when a Piano Accordion player goes into an 'Irish' session. Conservatism sets in when music becomes codified whereas new forms of music are often very inclusive

Hi Michael,

 

While I myself tend towards innovation, I also sympathize with the traditional player who has devoted many hours to learning a genre that has a well established musical tradition. It sometimes takes years to be able to identify just what that sound is, and how to incorporate it into your playing. Since every instrument has their identifiable characteristics, it’s not surprising that the instrument becomes identified with the genre, and in general, it’s thus very difficult for an instrument foreign to the genre to fit in. When accomplished players experience such an attempt, it’s not too surprising that they might conclude that their musical credentials are being cheapened by amateurish ramblings they’ve worked years at eliminating, from their own playing, and from the playing of others they choose to jam with.

 

At the same time, unexpected outcomes are always possible, provided they be given some kind of fertile ground, and there are many accomplished traditional musicians with a more open mind on the matter. They practice tolerance, though I suppose it has limits. Perhaps it's these latter folks that most facilitate the evolution of a genre.

 

In the US, there are relatively few accomplished accordion players outside a few specific genres, and I’ve seen clashes when such well meaning players try to join in with experienced, accomplished musicians in traditional realms. I myself play piano accordion and single row (Cajun) style accordions. I’d never think to bring the PA to a Cajun jam, but for me at least, I can sometimes use the PA for zydeco, or blues, wherein this instrument has a strong tradition. I also delve into a bit of Old Time with the PA, but primarily by my lonesome, for the simple reason I know I’m not good enough in the genre to not irritate the other players. In spite of this, I do have hopes that I can improve enough and be able to play in at least some capacity with the more open-minded members of the genre. I’ve had some good experience using the PA in a few Bluegrass jams, and there, I think I came off as accomplished enough, at least in the tunes I knew well. The different sound from the instrument piqued the curiosity of others, perhaps because they never heard the instrument played quite in the same way. I think such experiences as those, with all the joy, curiosity and sharing, are relatively rare.

 

Best regards,

Tom

www.bluesbox.biz

[Bruce McCaskey]

Bertram,

 

I've been enjoying your new CD since it arrived, it's nice to hear so many of the tunes I've learned from your new tutor played in this setting. Coming from an Irish music perspective on the concertina, your approach to the instrument was new to me and I was unfamiliar with almost all of the tunes taught in the tutor. As I started learning your method, I also started seeking examples of the tunes online and so began learning about this type of music and its roots. I decided early on that I needed a copy of your "A Henry Reed Reunion" CD and listening to that cemented my interest in the genre.

 

As I progressed I found new favorites in your material and now play many of these daily. An early personal favorite from the tutor was "Lady of the Lake," while it's not one of the more complex pieces, it somehow resonated with me from the start. I was quite pleased when I discovered that track four of your new CD combines it with two others from the tutor that I play frequently, Bill Cheatum and Old Molly Hare.

 

While I'm fortunate to have acquired original vinyl copies of your "Sageflower Suite" and "First Generation" albums from about 30 years ago, I suspect many people today aren't aware of them and very few have access to them. Sageflower Suite features a close melodic blend of concertina and fiddle (plus a bit of banjo) playing centuries old music as well as some moving original compositions. The smooth mix of concertina with mandolin, guitar and bass on First Generation is quite pleasing, and I think the album cover of First Generation is representative of the content and really portrays the concertina as an instrument that can host music from around the world. "Paddy Rocker," the first track on this album really highlights the concertina and establishes a musical expectation that the rest of the album clearly delivers.

 

Have you given any thought to re-releasing these albums on CD?

 

Edited June 14, 2012 by Bruce McCaskey

[michael sam wild]

Anglo International has some of Bertram and friends, tracks including Paddy Rocker.

[Bruce McCaskey]

I have a copy of that excellent collection, and your post reminds me that I don't listen to it as often as it deserves, there's some great concertina music there.

[Anglo Enthusiast]

<<<While I'm fortunate to have acquired original vinyl copies of your "Sageflower Suite" and "First Generation" albums from about 30 years ago, I suspect many people today aren't aware of them>>>

 

This is the great tragedy. These albums constitute, in my estimation, 2 of the most sublime works of art ever to have been conceived by a mere mortal and FIRST GENERATION, in particular, has come to represent for me nothing less than the very pinnacle of recorded instrumental folk music. I can't speak for Bertram, but I would imagine that, given the logistics of production costs compounded by the reality of an economy that is currently less than supportive of endeavors that deviate from the mainstream, perhaps the prospect of reissuing these 2 albums presents itself as an unprofitable and ultimately futile undertaking. What I'm wondering is if it might be possible to persuade a folk/concertina music enterprise of some sort that investing their resources in the pursuit of releasing these albums in CD format would be worth their while from a business standpoint. For my part, I think there is enough of an interest to justify this. It occors to me that the folks that put together the Anglo International compilation might be excellent candidates to take on the project. I've considered contacting them and presenting this prospect-I think they did a great job with the 3 tracks from FIRST GENERATION which made it onto the Anglo Iinternational anthology.

 

Meanwhile, I couldn't be more ecstatic that, in THE BELLOW AND THE BOW, we finally have a Bertram Levy album centered on the concertina that is widely accessible to the general public, and I can't wait to get my hands on it!

 

Best, Andy

[Azalin]

I'm not a fan of old time music but I listened to the clips and I feel it's some amazing music. Strangely enough, the tune "Lady of the Lake" sounds like an Irish hornpipe with French Canadian reel flavor :-)

[Geoff Wooff]

Listening to the clips I find the approach is nice and Raw... no cleaned-up presentation, which is just the way I like to hear music... as if we are sitting in that shed too.

 

I've not played much 'Old Time' music before but it is one of the musics that I get the oportunity locally to play. The string band that plays for the local Square Dance club were keen to have me join-in on concertina and they are either very tolerant and friendly or genuinely like the sounds the concertina adds.

 

So I am very interested to hear more and perhaps get a couple of ideas.

 

Best regards Bertram.... request for CD is on the way,

 

Geoff.

[BertramLevy]

Hi Everyone – Just returned from a sailing adventure to the wild west coast of Vancouver Island and pleased to see so many orders for the new CD. I appreciate everyone’s kind comments in this stream and I would like to address a few of the questions raised.

 

At present, acceptance of the anglo in Old Timey music is a bit of an issue for some. Old Time music is less about tone than rhythm, symmetry, syncopation and double stops. As a result the brilliance of the finely made English style concertinas can be abrasive to the purist when played in ensembles. In addition it can overpower the other instruments. For this reason I have chosen the Stagi but certainly other Italian style reeds work as well. That is not to say that the tunes can’t be played on better instruments but it is important to be sensitive to the people you are playing with. In the future that may change For sure, if you are in a contra dance band (especially with a piano), the more brilliant concertinas are more accepted and these tunes work just as well for that regional style.

 

Above all, the tunes are a riot to play solo and give the same sense of pleasure as when you execute a well-played reel. For both Irish and old time it is all about the backbeats and ornamentation, for Irish, the triplets, and for old time, the double stops. I love the old time quote “its better than it sounds”.

 

As you will hear in the recording, my guiding principle is to assume a supportive role, always trying to make the fiddle player sound better. This posture will always be welcome. When I play the melody with Kirk for example, I try to bring out the double stops and organize my bellow movements to enhance the “hidden” symmetry of the tune. This is why the art of phrasing is the subtitle of my new tutor. As I move to pure chords and moving bass lines, the fiddle explodes out into center stage. Fiddle players love that feeling (as do I) and that is why Kirk Sutphin, the best fiddler in the Round Peak North Carolina Style, understands how great it is to play with a concertina. No problem with acceptance here, this is great music. My colleagues in the old time music world that are real musicians so far have been very enthusiastic when hearing this recording. I am sure there will be critics but hey, that’s their problem. We concertinists know that we play an amazing instrument and have great tools for innovation.

 

Finally I want to address Tom’s issue of being a beginner in a jam session with experts. If you don’t know the tune well, just play accompanying chords. The secret is to learn to play guitar bass lines and bouncing offbeat short chords as illustrated in my new recording.

 

Thanks again to everyone who wrote. I appreciate the kind comments about my earlier recording. I am pleased that they have stood the test of time and would be happy to see them re-released but I am an innovator and always seem to be moving forward.

 

Bertram

[Geoff Wooff]

My copy has arrived and thanks Bertram it is very nice indeed.

 

I was slightly perplexed by the amount of action noise (clicking buttons) on the recording.. so I re-read your last post here and was supprised to find that you had used a Stagi. Whilst having the offending noisy buttons it does also have a tone quality that I would not have expected from my experience of Stagis from years ago. As others have pointed out it's tone blends brilliantly well with the fiddle and I can hear your reasoning for choosing it.

 

I must add that the button clatter in no way detracts from the enjoyment of this music.

 

Best regards,

Geoff.