Although the phenomenon has evolved in Europe to include other forms of folk dance, bal folk mostly refers to French and Breton folk dancing. Bal folk is comparable to American contradancing and square dancing. It has a heritage that dates back many centuries. Throughout the ages, French bagpipes (cornemuse), hurdy-gurdies (vielle à roue), accordions, and fiddles have been the accompanying instruments. As old as the dances are, new steps are occasionally created by imaginative dance masters. Also, a number of contemporary musicians are composing new tunes to mix with traditional pieces.
I fell in love with bal folk when I learned a few steps in the 1990s, in an old barn in the countryside of Quebec. Although I have no French or Breton heritage, and even failed miserably when I tried to learn the language, I have not been able to stop myself from composing tunes for the dances. A lot of the customary dances are represented on this
album, the an dro, hanter dro, bourrée, schottische, waltz, and others. I think all of the compositions I’ve included here are my own, but I’ve listened to so much French dance music over the years, I can’t swear I haven’t nabbed a phrase or two from traditional tunes. I tried to be very careful about this, but I’m sorry if I have thieved. I do know that
the first part of Evit Lily Eliza is very close to a tune from Bretagne. It may be, more or less, a harmony to it. Therefore, I’ve only copyrighted the tunes I’m very sure of.
Okay, bal folk... but why Imaginary Bal Folk? Oh, geez, the tunes I recorded are just ones that came to me, in the way every piece of music I’ve ever written has come to me. I took them into my bagpipe and played them. I can’t claim I got all the measures infallibly in sync with the steps – I just imagine I have. That’s all. At the very least, the tunes are inspired by the dances I love so much. It would be dishonest not to acknowledge that.
This album is dedicated to Daniel and Luc Thonon, who played in Ad Vielle Que Pourra, the first bal folk band I had the pleasure of dancing to. Daniel composed a lot of the tunes I heard that magical night. He continues to compose dance music to the present day. He is my favorite composer of this extraordinary music. Luc was the first piper I saw playing a European bagpipe. I was so mesmerized by his handling of the wonderful instrument I immediately thought, I have to get one of those! It’s your fault, Luc! Bless you! Although I utterly fail to meet the quality of Daniel’s compositions, and of Luc’s musicianship, and therefore must seem arrogant in setting myself up for comparison, they are two of kindest and most wonderful human beings on this planet, so I’m sure they will forgive me.
credits
released August 19, 2023
THANKS, THANKS, THANKS to Ted Porter for all of his contributions, musical and soul-wise.
Musicians:
Tom Jawbone – French bagpipes, parlor pipes, bagpipe chanters, pennywhistles, flute, harmonicas, jawharps, bones, percussion, gopichandra, jug
Nattie Carroll – accordion, percussion
Ted Porter – sackpipa, veuze, cornemuse du Centre, mandolin, banjo mandolin
Chuck Merrill – fiddle, mandolin
Ruth Merrill – accordion
David DiGiuseppe - accordions
Pete Simoneaux – berimbau, percussion
Linda Simoneaux – berimbau, percussion
Ralph Dubayah – hurdy-gurdy
Tim Whittemore – didgeridu, tuba
Ben Rogers – dumbek, drums, percussion
Cynthia Thomas – fiddle, button accordion
Doug Feeney – banjo, octave mandolin
Peter Stolley – accordion
Tom Gajewski – clarinet, twelve string guitar, mandolin
A note on the arrangements of the tunes: I suggested a few harmonies and counter-melodies to some of the musicians here, but mostly they created their own parts - and did they ever do a fine job of it!
I do have to point out one extraordinary arranger. Tom Gajewski came into Loud Sun Studio to record his clarinet and mandolin on a few tracks. He laid out several sheets of music in front of me. “These are harmonies and parts I’ve worked out. What do you think?” All I could say was, “I don’t know how to read music.” He proceeded to play through all of the music he brought, which must have taken him hours to come up with. He utterly transformed Above Georgian Bay, Around the Room, Going to See Lily June, and Three on a Parapet, with his splendid arrangements and masterful playing, making the tunes as much his own as mine. Thanks, Tom!
I should note that Ted Porter, Chuck Merrill, Tim Whittemore, Ralph Dubayah and Nattie Carroll did much the same on the tracks they arranged parts for, making my tunes greater than they were. Then again, all the musicians on the album brought a wonder to the pieces that wouldn’t be there without them.
Engineer, sound-editor, and master of the mastering process: Ben Rogers
Recorded, edited and mastered at Loud Sun Studio, Jaffrey, NH
Produced for Wedgie Records by Tom Weldon and Ben Rogers
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