Tape III Final liner notes 12/12/93
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From: lar...@ursus1.ursus.maine.edu (Larry Corbett)
Message-Id: <931212224...@ursus1.ursus.maine.edu>
To: lcor...@maine.maine.edu
Subject: Tape III liner notes update 12/12/93
From larryc Sun Dec 12 17:44:36 1993
Date: Sun, 12 Dec 93 17:44:35 -0500
From: larryc (Larry Corbett)
To: larryc
Subject: Tape III liner notes update 12/12/93
SIDE A SIDE B
John Fiskio-Lasseter Scott Peckham
Ken Tanguay Kelly Schuldberg and Pete Humphrey
Bo Parker Robert Minato
Phil Bearce Peter Rayner
Bill Flanagan Gary Von Colln
Larry Corbett
SIDE C SIDE D
Jim Smith Joe Palumbos
Tom Loredo Gord Holtslander
Guy Snape & Ken Appleby Richard Darsie
Dan Johnson Larry Corbett
Larry Corbett
Tape III Liner Notes
1) John Fiskio-Lasseter
2) Ken Tanguay ktan...@Accurate.COM
2) Bo Parker bo_p...@fbpmac.msfc.nasa.gov (preferred)
4) Phil Bearce
5) Bill Flanagan
6) Scott Peckham
7) Kelly Schuldberg and Pete Humphrey
8) Robert Minato rmi...@willamette.edu
9) Peter Rayner p...@splash.Princeton.EDU
10) Gary Von Colln
11) Jim Smith smit...@alcoa.com
12) Tom Loredo lor...@astrosun.tn.cornell.edu
13) Guy Snape and Ken Appleby g...@harlequin.co.uk
14) Dan Johnson
15) Joe Palumbos j...@moscom.com
16) Gord Holtslander Holts...@skyfox.usask.ca
17) Richard Darsie
18) Larry Corbett Lar...@ursus1.ursus.maine.edu
======================================================================
John Fiskio-Lasseter Richmond, IN
All three of these tunes were recorded using my beginner's
Fender six-string which I've had since I started playing eight years
ago. The recording, unfortunately, was done in my living room using a
cassette deck and a single Radio Shack microphone, so the sound quality
isn't the greatest. I hope your enjoyment of the tunes will overcome
that :-)
RICKOVER'S DREAM (Michael Hedges)
This one is one I picked out from his Aerial Boundaries album about
three years ago. After years of listening to it, dreaming about
playing it, seeing Hedges four times in concert, and finally going
back and finding the tuning to the song in an old issue of Frets, I
decided to give a crack at it. Hope I did this magnificent piece
some justice.
LOVE COMES TO THE SIMPLE HEART ( Chuck Hall, arr. Dean Stevens )
Here is one you probably haven't heard. This recording is almost
note-for-note Dean's guitar accompaniment. E-mail me if you'd like
to know more about him. Note that I have no financial connection to
this. This is not an ad. I just think that Dean is one of the great
undiscovered geniuses in the acoustic guitar-playing
singer/songwriter world. He is also a friend.
RATTLIN' ROARIN'WILLIE/THE FRIAR'S BRITCHES ( trad.Scottish )
The words and tune of this song are attributed to Robert Burns.
The jig that follows it is both a traditional Scottish tune also
known as "Freeze Britches" and an Irish Gaelic song called "Cunla"
The arrangement of these two is part mine, part Dick Gaughan, and
part Pierre Bensusan. Mostly the latter two, but I forgot who gets
credit for which part.
======================================================================
Ken Tanguay Eatontown, NJ
These three songs were recorded on a Sony TC-WR710 deck mic'd
through a Sony TC-FX2 deck. The guitars used are a 1993 Martin HD-28 and
a 1969 Gibson Southern Jumbo (SJN).
1) CITY OF NEW ORLEANS. Steve Goodman's consummate railroad song.
One of my all-time favorites. It was later recorded by Arlo Guthrie.
Martin HD-28
2) MOUNTAIN. I never knew the name of this E-modal tuning
instrumental by the 70's group Mountain. The tempo of the song reminds
me of two people having a conversation - one calm and one agitated -
then both become agitated as the song progresses. Lots of harmonics.
Gibson SJN
3) THAT WOULD BE SOMETHING. Another silly love song by Paul
McCartney in E-Modal tuning. Second verse, same as the first.
Gibson SJN
======================================================================
Bo Parker Scottsboro, Alabama
These recordings are the results of my first experiments with a
4-track recorder (borrowed Yamaha MT100II - many thanks to Ted
Allbritton (t...@tedsmac.msfc.nasa.gov). I had never
before taken any time to learn anything about recording. Arguably, I
still haven't learned anything :^/ I played all the parts. I wish I'd
had access to a better microphone (and a little reverb and compression
and better EQ and ...).
1) Dill Pickle Rag
I don't know who wrote this. (Anyone?) It's one of my favorite
flatpicking tunes. This is a combination of Dan Crary's and Steve
Kaufman's versions (though I don't play is as well as they do). Both
parts were played on my 1947 Martin D-18.
2) Footprints by Wayne Shorter.
This is sort of a modal jazz-waltz blues. All parts were played
on my 1983 Martin MC-28.
3) Qi Gong Master Breaks Rocks at NIH
Is a short free-improvised interlude for prepared acoustic
guitars and sitar. Guitar tracks were done on the Martin D-18 with
alligator clips and aluminum drumstick. This is all acoustic. It is
dedicated to Bill McCandless and Fred Frith.
4) Soldier's Joy
An old fiddle tune that's great fun to play. Both tracks were
played on the Martin D-18, capoed at the second fret.
======================================================================
Phil Bearce San Jose, CA
My guitar is a Sigma Dreadnought Cutaway with a Shadow soundhole
pickup and a Zoom 9000 processor, direct into a Tascam PortaStudio.
Guitar & vocals are me.
1) Oh Susanna (Trad.) arranged by James Taylor.
This is my favorite arrangement of this old favorite.
2) The Lee Shore- David Crosby and Graham Nash.
This song appeared on their Four Way Street album. (That's me on
background vocals)
3) 4+20 - Stephen Stills.
This old thang is off the Deja Vu album, and I don't play it too
badly (aw shucks).
======================================================================
Bill Flanagan Rexford, New York
The very moment I sat down to record these pieces, the tape drive
mechanism in my Vestax MR100FX four-track cassette recorder died! So I
used the Vestax as a glorified patch bay (for two microphones) and
recorded the output on my run-of-the-mill Akai stereo cassette deck. The
microphones are cheap. The guitar is an Alvarez-Yairi CY130 classical.
1) Jesu, Joy of Man's Desiring (J.S. Bach, arr. David Qualey)
Dropped D tuning (DADGBE), Capo IV. A "drastic modernization" of
a beautiful piece of music. A real joy to play, with lots of open
strings thoughout.
2) Opus 22 (David Qualey)
Dropped D tuning. My all-time favorite tremolo piece. The
opening bars involve a killer stretch, the tremolo effect is
two-fingered, and the mood is one of "romantic longing."
3) A Slice of Sunshine (David Qualey)
Tuning DGDGBE. A sprightly romp. Bright and uplifting to play.
I play lots of other stuff, but nylon-string guru David Qualey was my
main inspriation for learning fingerstyle guitar. I hope y'all enjopy
this very small sampling of David's compositional brilliance.
======================================================================
Scott Peckham La Mesa, CA
These four songs are all from an old book I found this summer. The
book is called Contemporary Ragtime Guitar by Stefan Grossman (Oak
Publications 1972). The first 9 tunes in the book seem to be excercises.
The last 8 are closer to actual solos and have now become a permanent
part of my repertoire. All songs were played on a Martin D-35 and were
recorded in my living room after the kids went to sleep. The four songs
are:
1) Dallas Rag - Arr. by David Laibman
2) Georgia Camp Meeting - Arr. by Eric Schoenberg
3) Hilarity Rag - Arr. By David Laibman; DGDGBE tuning
4) Red Pepper Rag - Arr. by Stefan Grossman; CGDGBE tuning
======================================================================
Kelly Schuldberg and Pete Humphrey Albuquerque, New Mexico
Both songs were recorded in Pete's den on a Fostex R8 and mixed to a
Sony DAT. A Lexicon LXP-1, an Alesis Quadraverb, and a BBE Sonic
Maximizer were used on various tracks. The acoustic guitar is a Martin
D-28. The bass is a Roland U220. Dolby C noise reduction was used on the
cassette tape.
1) Rio Grande (Kelly Shuldberg).
This is an original song, written when I was living in Old Mexico as
a school teacher, longing for the Good Old US-of-A. Bass, second lead
guitar; Pete Humphrey. Vocals, first lead guitar, rhythm guitar, banjo,
snare, Kelly Shuldberg.
2) Dark Hollow (Traditional).
This is just an old traditional bluegrass tune that Pete and I put
together especially for the tape. Bass, second lead guitar and harmony
lead guitar: Pete Humphrey. Vocals, first lead guitar, low and high
rhythm guitar, banjo: Kelly Shuldberg.
======================================================================
Robert Minato Willamette University
1) Signe (Eric Clapton)
I'm learning to use a 4-track recorder, so I played it once into track
1, then again into track 2, pretty much the same way both times. My
theory was it might sound like reverb and mask my mistakes! Oh yeah, and
those "ghost notes" in the book that I can't hear...they're on track 3.
(:
2) Adios Muchachos (Sander, adapted by Pierre Bensusan)
This was conspicuously absent from his expensive book. I wrote the
company a letter and they sent me copies of hand-written transcriptions
of this and "Palomita Blanca", which is also not in the book.It's in
DADGAD tuning, of course, with capo on II.
3) Newborn Yet to Come (Peter Finger)
Played with a slide on his old Kicking Mule record. I can't manage a
slide, but something about this tune "moves" me, so I threw it in,
slideless. The tuning is DADF#AC.
4) Linus and Lucy (Vince Guaraldi)
About 2/3 of the TV special theme...I tried to get it from a simplified
piano arrangement. Kinda sloppy, but has possibilities. I played it in
drop-D tuning with a capo on II. Track 2 is more or less the same as
track 1 except in the places where I got lost!
Guitar: Takamine N-40 Recorder: Fostex X-18 Micrphone: cheap Radio
Shack
======================================================================
Peter Rayner Hightstown, NJ
Both pieces played on a Santa Cruz D-Koa 6-string in dropped D tuning.
1) Si Beg Si Mor (Irish Trad.)
It seems that anyone who plays Irish tunes on the guitar plays this one,
I suppose that includes me!
2) Kemp's Jig (IBC. anon.)
I think that this owes more to the lute version of this piece than the
folk-rock one, but I like both. By the way, these 16th C. types meant
something else by "jig" than I do.
======================================================================
Gary Von Colln Cambridge, Mass
Equipment: Acoustic guitar is 1985 Alvarez Yari. Recorder is Fostex
4-track. Drum on "Waitress" is an old (circa 1955) Pearl snare with new
skins.
1) Hollow Man Written and performed by GVC
Notes: open E tuning
2) Waitress Written by Paul Westerberg, performed by GVC
3) Nighttime in Hanover Written and performed by GVC
======================================================================
Jim Smith Apollo, PA
Hearing John Fahey's "The Best of..." in 1977 is what really sparked my
interest in fingerpicking guitar. The songs included here are my
arrangements of three off that LP. I used a portable tape recorder and
my Dobro Hounddog.
1) "In Christ There is No East or West" is one of the more popular
Fahey pieces. He does a nice version of this on the Shanachie video
"John Fahey/Elizabeth Cotten". Standard tuning, Key of G.
2) "Take a Look at That Baby" was the first Fahey song I learned. Just
a neat little picking pattern. Standard tuning, Key of C.
3) This is a common theme Fahey has used over the years. On his "The
Best of...", he titled it "Sunflower River Blues". Open C (CGCGCE).
======================================================================
Tom Loredo Ithaca, NY
I consider my time on this tape to be "advertising space": These are
some favorite tunes by some favorite musicians; if you like any of them,
PLEASE go out and buy their recordings so their record companies will
send them into the studio to make MORE recordings for me to listen to!
Eqpt: Olson SJ Cutaway with Sunrise and L.R. Baggs pickups, and internal
Audio Technica AT831b condenser mike. Unfortunately, my limited
buffering/EQ equipment, malfunctioning 4-track, and lack of experience
don't make the most of this spectacular instrument...
1) "Leave It Like It Is"---A cute, bluesy song from David Wilcox's
first A&M recording, *How Did You Find Me Here*. Sorry about the vocal;
it was the best I could do! As if the song were trying to tell me
something, I had to "leave it like it is.."
2) "Icarus"---A musical retelling of the Icarus legend, with some
subtle but significant changes. This arrangement is by Martin Simpson;
the song was written by his British songwriter/teacher friend Anne
Lister. I believe it will appear on his upcoming album, due out early in
'94. It's one of the most beautiful songs I have ever heard by anyone;
I hope some of its beauty rings through.
3) "Fare Thee Well"--- A favorite tune by a favorite player! This is an
instrumental composed by Phil Keaggy; it appears on his acoustic
instrumental masterpiece *Beyond Nature*. Regarding the title, he writes
that it "fits the song because it gives you that sense that you're
saying good-bye, but that there will be a reunion and we will know the
feeling of companionship again. " In concert, he reveals (smiling!) that
the song was inspired by Claude Debussy and Ringo Starr!!?! He wrote it
one day after listening to "Claire de Lune" ( inspired the intro &
outro) and "Yellow Submarine" (the up-tempo strummed part). Talk about
diverse influences...!
======================================================================
Guy Snape and Ken Appleby United Kingdom
These four pieces are by Stefan Grossman and John Renbourn. A book
containing tab for all of them is available from Mel Bay / Stefan
Grossman's Guitar Workshop. Ken plays a Martin D-28 and is predominantly
on the left channel. Guy is playing a Lowden F-32 and is mostly on the
right channel. The pieces were recorded on a Fostex four track machaine
using Shure mics. To be honest, we weren't very happy with the sound
quality (we're both novices at the recording stuff).
1) Snap a Little Owl
Guy plays the main theme and the chord rhythm part, Ken plays the
counterpoint and solo. Both in standard tuning.
2) Midnight on the Water
A traditional Texas waltz, arranged by Duck Baker, Renbourn and
Grossman. Guy plays the main tune in DADGBE tuning and Ken plays the
counterpoint, capo II, standard tuning.
3) Looper's Corner
Ken plays the main melody part, Guy plays the higher bit (including the
harmonics which haven't come out very well).
4) Idaho Potato
Ken plays rhythm, Guy plays lead (including a short improvised solo in
the middle). Both in standard tuning.
======================================================================
Dan Johnson Fairbanks, Alaska USA
All songs played on a Webber guitar, recorded through a Shure Prologue
microphone into my medicore home cassette deck in the acoustic womb of
my living room. Accompanyment is provided by the furnace blower and
refrigerator compressor. The microphone manufacturer claims the
Prologue is "ideal for: speeches, bingo calling and paging," so I'm sure
it is ideal for the recording of fine acoustic instruments. My wife gave
it to me recently for my 40th birthday and thinks I'm going to use it to
launch a recording career during which I will find and run off with a
spandex-clad 20 year old. Judge for yourself the possibility of this
happening.
1) Greensleeves, aka, What Child Is This, traditional.
I'm sure that this is a combination of arrangements that I've heard
before, not having an original bone in my body. I'm not sure whose they
are, though, so can't give proper credit.
2) It's A Sin To Tell A Lie, words and music by Billy Mayhew, written
in the 30's, I believe.
The arrangement based on one taught me by my first guitar guru, Dale
Dahlquist. I usually sing with this arrangement, but don't have the
technical capability to record it that way ( and therefore disguise the
mistakes).
3) Railroad Bill, traditional.
This song, as played by Etta Baker, inspired me to pick up my first
guitar. This arrangement is a combination of her's and Taj Mahal's
versions.
======================================================================
Joe Palumbos Rochester, NY
All songs are played on my 1974 Guild D25S acoustic. I recorded with a
stereo mic and a standard cassette deck (no mixing). The arrangements
and the voice are mine.
1) Alka Seltzer Plus (John S. Tuttle)
Tuttle does a great version of this song on the piano. My desire to do
it justice on the guitar led to this version (after MANY months), and a
style of playing that I'd never tried before.
2) Medley in C:
Philly Rag (Dan Hicks)
Her Majesty (The Beatles)
St. Louis Tickle
The last song was taught to me about 18 years ago (by JST), but I
just learned the name of it last month. It requires the use of your left
thumb, which I've been using extensively ever since.
3) Voyeur's Lament (John S. Tuttle)
4) Elanor Rigby (Beatles)
======================================================================
Gord Holtslander Saskatoon, Saskatchewan, Canada
All contributions recorded on a Tascam 4-track with Realistic PZM mike
dubbed to 2-track. All pieces are original compositions.
1) My Walking Blues - Sigma in open G
2) The Number Two Blues - Dobro with slide in open G
3) My Traveling Blues - Dobro with slide in open G
4) My Cryin' Blues - Dobro with slide in open G
5) Busker's Breakdown - Dobro with slide in open G
======================================================================
Richard Darsie
1) SNOWY MORNING BLUES--James P. Johnson, arr. Guy van Duser. A 19920's
jazz tune. One of Guy van Duser's more "doable" arrangements. Guitar is
in drop D tuning, DADGBE.
2) ORIGINAL RAGS--Scott Joplin, arr, Richard Darsie. A five-part rag,
one of Joplin's first. Sections are not repeated here. Guitar is DADGBE.
3) PLINN AN ENAOUER--Daniel Thonon, arr. for guitar by Jean Le Cros. A
Breton dance tune. Jean Le Cros is a member of the French folk group "Ad
Vielle Que Pourra"---check them out. I got the tab for this piece at a
workshop at a folk festival in Southern California. Tuning is DADGAD.
4) WINDY AND WARM--Chet Atkins?. I learned this from a Doc Watson
recording about 20 years ago. Standard tuning, key of Am.
5) CANNONBALL RAG--Merle Travis. For Merle Travis to be known only as
the "father of Travis picking" is a great disservice to his memory, as
this piece (hopefully) demonstrates. Standard tuning, key of G
6) CREDO, MISSA MILLE REGRES--Enriquez de Valderrabano. Renaissance
lute duet, overdub recording. Both guitars in EADF#BE (lute tunig). This
is a stunning piece (IMHO), the harmonies are wonderful and sound quite
unusual to the modern ear.
======================================================================
Larry Corbett Old Town, Maine USA
All recording was done using an old boombox and a Radio Shack reverb
unit. I really enjoy acoustic guitar and concentrate on acoustic blues.
I would love to move to a location where I could sit outside on the
porch and just play and play and play.
1) Slidin' Blues
This piece is one of those that just comes out, its an improve of sorts.
My favorite way to play is to just pickup the guitar and play what I
feel. The harmonica is used in one of those racks while playing the
guitar. The guitar is a Morrell resonator. Open E tuning.
2) Clam Diggers Racking Rag
This is my attempt at an original rag of sorts. I'm not really sure I
have the structure down yet. Guitar used is Maritn D-35p.
3) Hesitation Blues Rev. Gary Davis.
This is my version. It has been done by many others, Roy Book Binder,
Rev. Gary Davis, Dave Van Ronk, etc..This is what it has become in my
hands. Guitar used is Martin D-35p.
4) Walkin' Blues Robert Johnson
I'm still trying to do this piece. So many have done it and each has
made it thier own. I am trying and would like to hear what you all
think. Guitar used is Morrell resonator. Open A tuning.