Cregg's
Pipes (Traditional)
Uist Reel (Traditional)
John Doherty's (Traditional)
Cillian Vallely:
Uilleann pipes
Kevin Crawford: Irish flute
Seán Smyth: Fiddle
Trevor Hutchinson: Double bass
Donogh Hennessy: Guitars
From the album:
Redwood
Courtesy of Green
Linnet Records, Inc.
(GLCD 1224) © 1999 Green Linnet
Records, Inc. www.greenlinnet.com
Redwood was produced by Lúnasa
Recorded 2002, Cotati, California
Address: Lúnasa, c/o SGO Music
Management Ltd., P.O. Box 34994,
London, England SW6 6WF
The 1970s Irish group
The Bothy Band featured a front line of flute, fiddle,
and Irish pipes (Uilleann pipes) and was often considered
the most important Celtic band of the rock era before
they disbanded in 1979. The Bothy Band's music entered
the realm of legends, redefining modern ensemble sound.
In 1996, Lúnasa was formed with a similar
configuration of flute, fiddle, and Irish pipes.
Additionally, propelled by a rhythm section of only
acoustic bass and guitar, this band set out to put their
own stamp on ensemble sound, using jazz-rock bass lines
and dynamic interplay. Although early reviews compared
them to The Bothy Band, Lúnasa has far surpassed
these comparisons, and they continue to refine their
multi-layered sound. As they release their new album
Redwood, Lúnasa is entering into the realm of
legends themselves, continuing to come up with
arrangements that sound fresh and spontaneous. They push
the boundaries of Irish instrumental music into jazz and
beyond, yet they maintain a gripping sense of tradition.
Redwood, the band's fourth, is a live studio
album.
2.
Bachué
Eilidh Shaw's
Trip To Germany
The Balnain Reel (Ian Lowthian / Corrina Hewat)
Corrina Hewat:
Electroharp
David Milligan: Piano
Donald Hay: Drums
Previously
unreleased
Courtesy of Bachué
Produced by David
Milligan
Recorded Sept. 2003, Edinburgh
www.bachue.co.uk
The Celtic Connections
Festival held each year in Glasgow, Scotland, has been an
important cog in the wheels of the world of Celtic music.
The festival features Celtic music from throughout the
traditions, and through commissioned works, the festival
also nurtures new music, innovation, and unique
performances. The 1995 Celtic Connections Festival saw
the first performance of the Scottish group Bachué
and the duo of Corrina Hewat (harp) and David Milligan
(piano) succeeded in blending styles and idioms to
widespread acclaim. Both Corrina and David are
composers/arrangers, and both share a contemporary
attitude towards traditional music. Throughout their
careers, they have been involved in numerous innovative
projects and commissioned works. Their most recent
project, entitled The Unusual Suspects, was hosted by the
Celtic Connections Festival and is a 31-piece folk
orchestra put together and directed by David &
Corrina. Having recorded and toured with various line-ups
over the years, Bachué is now established as a
trio with the addition of Edinburgh drummer Donald Hay.
The band's new sound is featured on their upcoming third
album, which is to be released in early 2004.
3. Brenda
Stubbert
The Barra's Irish
Reels
Never Was
Piping So Gay (Ed Reavy)
Charlie Mullvihill's (Charlie Mulvihill)
The Skylark (James Morrison)
Brenda Stubbert:
Fiddle
Stephanie Wills: Piano
Stewart MacNeil: Irish flute
From the album: Music
All Around
Courtesy of Cranford Publications
Produced by Paul
Cranford
Recorded 2002, St. Ann's, Cape Breton
www.cranfordpub.com
Brenda Stubbert grew up
in Point Aconi, an area of Cape Breton encompassed by the
"Northside Irish" style of music, a style that is
actually a mixture of Irish.and Scottish music. Her
father, Robert Stubbert, along with legendary fiddlers
Johnny Wilmot and Joe Confiant, are among the foremost
purveyors of this style. Brenda learned by ear directly
from these masters. What is unique about this style is
the swing &endash; Irish music with a Cape Breton swing.
Also unique about this style is that although far removed
from America's Irish communities, the Northside style
still absorbed the evolving repertoire of the
Irish-American. Three classic reels from Irish-American
composers of the last century are on this track. Ed Reavy
was a prolific and influential fiddler &endash; a
composer and teacher in Philadelphia. Charlie Mullvihill
played button accordion and lived in New York. Fiddler
James Morrison, also known as "The Professor," was one of
the very prolific Irish-American recording artists of the
1920s. He, along with Michael Coleman, set many standards
for Irish music. Stewart MacNeil, a member of the Barra
MacNeils, joins Brenda on this track.
4. Mary Jane
Lamond
Am
Bràighe (Calum Mac 'Illios)
Mary Jane Lamond:
Gaelic vocals
Tracey Dares-MacNeil: Piano
Gordie Sampson: Guitar
From the album:
Gaelic Songs of Cape Breton
Courtesy of Turtlemusik
Produced by Mary Jane
Lamond
Recorded 2000
Point Aconi, Cape Breton
www.maryjanelamond.com
In 1892, the Gaelic
newspaper Mac-Talla was first published in Sydney, giving
a voice to the Gaels of eastern Nova Scotia and the
world. The Scottish Highlanders, with a rich tradition of
Scottish Gaelic writing, had emigrated to eastern Nova
Scotia and Cape Breton. The repertoire of the bards
included stories, poetry, descriptive songs, and bitter
satire. The Gaelic literary tradition remained strong in
the new world, expressing the new life of the immigrants
&endash; the hardships, the disappointments, and the
beauty of the land. Cape Breton bard Malcolm Gillis
(1856-1929) composed this song in praise of the Margaree
Valley, his home. Am Bràighe translated means
"higher ground" or brae and is also the name of a new
Gaelic journal founded in Mabou in 1993. Mary Jane
Lamond's latest album includes numerous Cape Breton-
composed selections from the islands' various Gaelic
districts. Through her recordings and her international
performances, Mary Jane has brought an ancient language
to a modern world.
5. The McDades
Valley of a
Thousand Tears (Shannon Johnson)
Hotel de Ville (Jeremiah McDade)
Shannon Johnson:
Fiddle
Jeremiah McDade: Whistles
Solon McDade: Bass
Dave Merriman: Guitar
From the album: For
Reel
Courtesy of Free Radio Records
Produced by Shannon Johnson
Recorded 2002,
Edmonton, Alberta
www.freeradiorecords.com
www.themcdades.com
Cape Breton is
considered a cradle of Celtic culture, but folk
traditions also remain strong throughout the rest of
Canada. Expo '67, the Cultural Olympics '76, Expo '86,
Mariposa, and Canada's western folk festivals all played
important roles in nurturing these folk traditions. The
festivals gave many young Canadian musicians a chance to
travel and be around older players. Terry and Daniel
McDade, the parents of Jeremiah, Solon and Shannon,
founded the Edmonton-based group and have been touring
Canadian festivals for more than 20 years. The repertoire
of The McDades includes Scottish, Irish, Métis,
Quebecois, and Cape Breton music &endash; a Canadian
melting pot. Members of the family pursued jazz studies
at McGill University, and throughout their arrangements,
this influence is strong, with the inclusion of
instruments, such as the soprano saxophone. Elements of
world music also complement the ensemble sound, and
composition is at the heart of the McDades'
repertoire.
6. The Kane
Sisters
Paddy Fahey's
(Paddy Fahey)
Mullingar Lea
Paddy Fahey's (Paddy Fahey)
Liz Kane: Fiddle
Yvonne Kane: Fiddle
John Blake: Guitar
From the album:
The Well Tempered Bow
Courtesy of Dawros
Music
Produced by Liz and Yvonne Kane
Recorded 2001, Longford, Ireland
www.thekanesisters.com
A unique Irish regional
style is known as the "East Galway" style, noted for a
relaxed pace and a wistful sound. Fiddlers from this
district of western Ireland include Paddy Kelly and
Connor Tully. Perhaps the most well known exponent of the
East Galway style is the fiddler and composer Paddy
Fahey. A rural farmer by profession, Paddy has never
recorded an album and rarely performs solo. Yet today,
his compositions are part of the Irish session repertoire
around the world, even though he has never given his
tunes formal names. In 2001, Paddy was honored during the
Irish Television Traditional Music Awards. He received
the "Composer of the Year" award and was joined in a
performance by two young fiddlers, Liz and Yvonne Kane,
from Letterfrack, a village in Connemara, western
Ireland. Although Liz and Yvonne are generations apart
from Fahey, they have come to be known as the finest
interpreters of Fahey's style and his compositions. The
Well Tempered Bow is the Kane Sister's first album, and
it features several of Fahey's tunes. Liz and Yvonne have
also recorded with Sharon Shannon and Steve
Earle.
7. Mac Morin
J.O. Forbes,
Esq. of corse (Peter Milne)
Mac Morin: Piano
Gordie Sampson: Guitar, percussion
Steve O'Connor: Organ, accordion
John Dymond: Bass
Al Cross: Drums
From the album: Mac
Morin
Courtesy of Mac
Morin
Produced by Mac Morin
Recorded 2003, Pt. Aconi, Cape Breton
www.macmorin.com
Introduced at the turn
of the last century, the upright piano replaced the pump
organ as the main accompaniment instrument for Cape
Breton music. In a few short years, Cape Breton
accompanists developed personal backing styles, most
becoming soloists, adapting fiddle tunes to the piano.
Today, there are numerous piano players, and many
fiddlers play both instruments. A recent album by Buddy
MacMaster, The Judique Flyer has twelve different piano
accompanists, all with completely individual styles.
Included on Buddy's album was Mac Morin, a young piano
player from Troy, Cape Breton. Also a step-dancer, Mac
learned to play during an exciting time in Cape Breton,
as Natalie MacMaster, Ashley MacIsaac, and Wendy MacIsaac
were all members of Mac's local community. Eventually,
Mac joined Natalie's band, with whom he toured for two
years. Today, he is a busy accompanist, also performing
in Beòlach. On this track, Mac is joined by
members of Natalie MacMaster's band.
8. John Doyle
Rounding the
Horn (Traditional) - (Arranged by John Doyle)
John Doyle: Guitar and
vocals
Previously
unreleased
Courtesy of Compass Records
Produced by John Doyle
and Stephen Heller
Recorded with Upstream
Productions,
September 2003, Asheville, NC
www.johndoylemusic.com
During the 1920s, New
York City became one of the cradles of Irish culture in
America. In communities such as the Bronx, Irish music
flourished, with players such as Michael Coleman and
James Morrison being among the first "Irish" recording
artists. Irish music survived the depression in New York,
and eventually, the traditions were handed down in the
city, as they were in the old country. The city would
continue to attract Irish musicians, and when Irish
guitar player John Doyle moved to New York in the early
nineties, he found a thriving Irish music community that
included other young players, such as Seamus Egan and
Eileen Ivers. From an extended musical family, John
already had a group called Chanting House that included
Susan McKeown. Seamus and Eileen joined this group in
NYC, and this union led to a series of collaborations
that resulted in the formation of Solas, one of the most
popular Irish groups today. John has since left the group
and now makes his home in Asheville, North Carolina,
where his highly distinctive guitar style is a welcome
sound in the "old-time" music community. John recorded
this track specifically for this Celtic Colours Festival
compilation.
9. John Campbell & Doug
MacPhee
Reels in E
Johnny
Wilmot's Fiddles (Elmer Briand)
Sweet Molly (Traditional)
The Glenora (John Campbell)
John Campbell:
Fiddle
Doug MacPhee: Piano
Edmond Boudreau: Guitar
Four on the floor: Stepdancing: Pamela Campbell, Dawn
MacDonald,
Meghan MacDonald, Christine Morrison
From the album:
Timeless
Courtesy of John
Campbell
Produced by John Campbell
Recorded 1999, Sommerville, MA
Throughout the last
century, the city of Boston would be a destination for
Cape Breton immigrants. Here, they would converge in
Roxbury, at Dudley Street, the home of the great dance
halls, including the Rose Croix Hall and Joe McPherson's
Greenville Cafe. By the late 1950s, the Dudley Street
dance halls were closed, but Cape Breton music remained
strong through the efforts of numerous fiddlers,
including Bill Lamey and John Campbell. Today, the Cape
Breton dances are held at the Canadian-American club in
Watham, a town twenty minutes west of downtown Boston.
John is a native of Glenora Falls, Cape Breton. For many
years, he has performed at dances and concerts throughout
the Boston area. John's father was Dan J. Campbell, one
of Cape Breton's recording pioneers. John is also known
for his most famous composition, Sandy MacIntyre's Trip
to Boston. On this track, Doug MacPhee accompanies John
on piano. One of the living legends of Cape Breton music,
Doug recorded an album with David Greenberg in 2000,
Tunes Until Dawn. Doug recently recorded with Donald
MacLellan on his album The Dusky Meadow, and last year,
he released a compilation of his Cape Breton piano
solos.
10. Flook
Beehive
The Beehive (Sarah Allen)
Poon Hill (Brian Finnegan, Flook Publishing)
Vladimir's Steamboat (Jay Ungar, Swinging Door Music,
BMI)
Brian Finnegan:
Whistle
Sarah Allen: Alto Flute
John Joe Kelly: Bodhrán
Ed Boyd: Guitar
Seckou Keita: Hi-hats & shaker
From the album:
Rubai
Courtesy of World Village Records
Produced by Flook and
Mark Tucke
Recorded 2002, Devon, England
www.flook.co.uk
Throughout the history
of Celtic music, ensembles, such as some of Neil Gow's
ensembles of the "Golden Age" of Scotland, were rare. For
many years, Celtic music remained essentially a solo
aesthetic, often played for dancers. In the last century,
Ceilidh bands emerged in Ireland and in the industrial
cities of England, again playing for dancers. It was not
until the late 1950s that The Chieftains formed one of
the first ensembles to perform instrumental music for the
concert hall. By the 1970s and 80s, there were numerous
groups playing in Ireland, Scotland, and England &endash;
The Bothy Band and Moving Hearts being among the most
influential. Flook was formed in England in November
1995, when Brian Finnegan, Sarah Allen, and Michael
McGoldrick got together for a tour, entitling the band
Three Nations Flutes. They soon added Ed Boyd on guitar
and changed their name to Fluke, later Flook. When
Michael McGoldrick left the band, bodhrán player
John Joe Kelly replaced him. Flute, alto flute, whistle,
and low whistle mark the sound of this band that often
evokes memories of Moving Hearts. Flook has been and is
at the forefront of a new tradition of bands that is now
emerging, a tradition of innovation and
adaptation.
11. Ferrintosh
Captain Simon Fraser of
the Highlands
The Glen of
Copsewood
The Highlands of Banffshire
The Merry Making (Traditonal, Arranged by David
Greenberg, SOCAN)
David Greenberg:
Fiddle
Abby Newton: Cello
Kim Robertson: Celtic Harp
From the album:
Ferrintosh
Courtesy of Ferintosh
Produced by David
Greenberg, Abby Newton, and Kim Robertson
Recorded 2003, West Shokan, New York
www.ferintosh.com
The "Golden Age" of
fiddle music in Scotland is often a common reference to
the days of Niel Gow, Simon Fraser, and the great
Scottish "traditional" composers and collectors of the
1700s. There is, however, an aspect of the repertoire
from this period that is often overlooked. Near the end
of the Baroque period, Scottish Art-Music and folk music
traditions borrowed from each other in style and in
repertoire to create a type of fusion. An example was
dancing master and cello player James Oswald, who
composed and arranged numerous airs, sonatas, and
minuets. The tunes in this medley are all taken from
Simon Fraser's collection, The Airs and melodies Peculiar
to The Highlands of Scotland and the Isles (1815), and
have been adapted for this new trio. In recent years,
Baroque violinist and Cape Breton fiddler David Greenberg
founded the group Puirt a Baroque, and this group has
performed both Scottish Art-Music and the traditional
music of Cape Breton. The trio Ferintosh also delves into
this rich repertoire, recreating the sound of the Golden
Age by using cello and harp as accompaniment.
12. Donnie Murdo
MacLeod
O's toil 's gu
rò thoil leam (Traditional)
Donnie Murdo MacLeod:
Gaelic vocals
Allan MacDonald: Vocals, small-pipes
From the album: Squab
is Dòlth
Courtesy of Macmeanmna
Recorded 2000, Portree, Isle of Skye
Produced by Mary Ann Kennedy
www.gaelicmusic.com
Scotland's Outer
Hebridean Islands include Harris, North Uist, South Uist,
Benbecula, and Lewis. Lying off the northwest coast of
Scotland, the islands are home to the North Atlantic's
most rugged and barren landscape. It is also home to some
of the world's most ancient historical sites, dating back
to Neolithic times. Irish monks built monasteries on
these islands as early as 300 A.D. Gaelic culture would
live for centuries here, even though "The Great
Clearances" would send many emigrants to Cape Breton.
Gaelic culture and music still thrive throughout the
islands. A recent census noted that seventy percent of
islanders spoke Gaelic. Lewis, the largest of the
islands, has produced numerous Gaelic singers, including
Margaret Stewart, Mary Smith, and Donnie Murdo MacLeod.
Donnie is a recipient of numerous awards for Gaelic
singing, including a gold medal in 1996 and an award for
Gaelic Psalm precenting. "Precenting" is a rare tradition
that continued on Cape Breton's North Shore communities
until the 1970s.
13. Bohola
Redican's
(Traditional)
The Merry Old Woman (Traditional)
The Chapel Bell (Frank McCallum)
(Arranged by bohola, bohola music BMI)
Jimmy Keane:
Accordion
Sean Cleland: Fiddle
Pat Broaders: Dordan
From the album:
Bohola
Courtesy of Bohola Music, LLC
Produced by Jimmy Keane
Recorded 2001, Chicago
www.bohola.com
The Chicago-based group
bohola takes their name from an old jig named after a
small town in County Mayo, Ireland. Old Irish melodies
stood the test of time in Chicago, which has always been
a crossroads for Irish musicians and their music. Jimmy
Neary, a Mayo fiddle player, brought "The Bohola Jig"
with him when he emigrated to Chicago in the 1920s. Many
years later, it was found to be a common tune throughout
the repertoire in Chicago and a common tune when these
three musicians (Jimmy, Sean, and Pat) formed their band,
they named it "bohola." The shared vernacular lies at the
heart of expression for this group. Drawing on a rich
Irish and Irish-American repertoire, bohola often
performs extended melodies and near hour-long, non-stop
sets of entwined tunes and songs. Throughout their
dynamic arrangements, bohola features daring
improvisations and imaginative interplay, blending the
configuration of accordion, fiddle, and dordan into one
cohesive sound. Since the release of this recording, the
group has gone on to release a self titled album on the
Shanachie Records label. A new bohola recording on the
Shanachie label is due out in 2004.
14. Wendy
MacIsaac
Stephanie &
Jackie
Clach Na
Cuddin (Traditional)
The Fir Tree (Traditional)
Angus Allan & Dan J's (Traditional)
Sow's Tail (Traditional)
The Lasses of Stewarton (Traditional)
Donald MacGugan's Rant (Traditional)
Brookside (Dan R. MacDonald, SOCAN)
Ann MacQuarrie (Donald A. Beaton, SOCAN)
Wendy MacIsaac:
Fiddle
Jackie Dunn MacIsaac: Fiddle
Stephanie Wills: Fiddle
Howie MacDonald: Piano
Gordie Sampson: Guitar Fiddle
From the album:
Timeline
Courtesy of Wendy MacIsaac
Produced by Wendy MacIsaac
Recorded 2003, Pt. Aconi, Cape Breton
www.wendymacisaac.com
During the late 70s and
early 80s, there were numerous young people learning to
play the fiddle in Cape Breton. One person who played an
important role in the inspiration of the next generation
of Cape Breton musicians was fiddler and teacher Stan
Chapman. Stan was successful in adapting traditional
teaching methods to the classroom. His weekly students
included Ashley MacIsaac, Natalie MacMaster, and Wendy
MacIsaac, young Cape Breton fiddlers who have made their
stamp in a new age. Wendy MacIsaac grew up in Creignish,
Cape Breton. Noted for her old-style sound, Wendy began
her lessons with Chapman at the age of twelve. Today,
Wendy is a busy dance fiddler and has also toured with
Ashley MacIsaac and Mary Jane Lamond. She is also a
founding member of the band Beòlach. On this
track, Wendy is joined by old friends and former students
of Stan Chapman &endash; Jackie Dunn and Stephanie Wills.
They play a classic set of traditional Cape Breton tunes,
along with two reels from Cape Breton's foremost
composers.
15. Christine Balfa & Dirk
Powell
Bayou Teche
Special (Traditional)
Christine Balfa:
Guitar, vocals
Dirk Powell: Accordion, vocals
Kevin Wimmer: Fiddle
Mitchell Reed: Bass
From the album: La
Pointe
Courtesy of Rounder Records
Produced by Peter Schwarz
Recorded 1997, La Pointe, Louisiana
www.balfatoujours.com
The descendants of the
Cajuns, or the Acadians of Louisiana, were actually early
French (western France) settlers of Canada's eastern
regions more than four hundred years ago. Throughout a
150-year period of political turmoil, the Acadians would
lose the rights to these regions. Finally, in 1755,
Acadians were expelled through large deportations.
Louisiana, a Spanish territory at the time, welcomed the
Acadians to a new homeland and a world of cultural
convergence. In Louisiana, the music of the Acadians
would thrive and evolve into what is known today as Cajun
music. Like most of America's indigenous music, Cajun
music had gone into a state of decline by the 1950s.
Fiddler Dewey Balfa, along with his brothers, is credited
with giving new life to this music through his riveting
performances at festivals throughout the 1960s. Today,
Balfa Toujours carries on this tradition, led by Dewey's
daughter Christine Balfa, along with fiddler and
accordion player Dirk Powell. As a dance band, Balfa
Toujours pays cultural tribute to Acadian routes and to
the mosaic that is Cajun music.
16. Mairi
MacInnes
Is Gaidheal Mi
(This Feeling Inside)
(Words by S. Evans / Music by M. MacInnes, MCPS &
PRS)
Mairi MacInnes: Vocals,
with The Glasgow Gaelic Choir
From the album:
Gaelic Women (Ar Canan 'S Ar Ceol)
(CDTRAX 172)
Courtesy of Greentrax
Records Ltd.
Produced by Malcolm Jones
Recorded 1999, Glasgow, Scotland
© 1999 Greentrax Recordings Ltd.
www.mairimacinnes.com
www.greentrax.com
Gaelic song and poetry
represent one of the oldest and strongest traditions in
Scotland. The album Gaelic Women or Ar Canan 'S Ar Ceol
marks a milestone in the history of this tradition. This
collective demonstrates the richness of the present-day
tradition in Scotland, focusing on women's roles in the
creation of Gaelic repertoire. Mairi MacInnes, who is one
of the "artists in residence" at this year's Celtic
Colours Festival, recorded two selections for the Gaelic
Women album, selections produced by Malcolm Jones of Run
Rig. Mairi is from Baghasdail A'tuath, a small township
on the island of South Uist, in the Outer Hebrides of
Scotland. South Uist is the ancestral home to numerous
families living in the central part of Cape Breton, and
to this day, the two areas have shared song and piping
traditions. This Feeling Inside is also the title track
of Mairi's 1995 album for Greentrax Records, co-written
by Mairi's husband Steve Evans and translated into Gaelic
by Norman MacLean. Mairi's latest albums for Greentrax
Records include Orosay and Tickettyboo (Songs for
Children)
17. Natalie
MacMaster
Jig Party
Traditional
Jig (traditional)
The Butler of Glen Avenue (Tony Sullivan)
Tee Tie Tum Tittle Tee (N. MacMaster & M.
MacIsaac, SOCAN)
Annette's Chatter (Bruce Gandy, SOCAN)
Natalie MacMaster:
Fiddle
Tracey Dares: Piano
Brad Davitch: Guitar
Matt MacIsaac: Whistle, bagpipes
From the album:
Blueprint
|Courtesy of Rounder Records and BMG Canada
Produced by Darol Anger and Natalie MacMaster
© 2003 MacMaster Music Inc.
Recorded 2002, Nashville
www.nataliemacmaster.com
In 1986, a young
Natalie MacMaster traveled to Expo '86 in Vancouver to
perform alongside Donald MacLellan, Mary Jessie
MacDonald, Alex Francis MacKay, and other legends of Cape
Breton music. At this time, no one could have predicted
the career that was ahead for Natalie. Cape Breton music
was still considered by many to be in a state of decline,
and most musicians pursued other occupations. As a
college student, Natalie herself pursued a career as a
schoolteacher, completing her studies while at the same
time, nurturing a career as a performing artist. As the
early 1990s gave birth to a new era of national and
international awareness of Cape Breton music, Natalie
made the transition from the dance hall to the festival
stage and to the concert halls of the world. Throughout
this transition, her music evolved, and Natalie would
absorb new repertoire and stylistic influences from her
world travels. Her latest album, Blueprint, is a
production collaboration Natalie shares with Darol Anger,
a fiddler and producer known for his involvement in the
New American String-Band Movement.
