Mostrando entradas con la etiqueta celta. Mostrar todas las entradas
Mostrando entradas con la etiqueta celta. Mostrar todas las entradas

viernes, 8 de octubre de 2010

CHARLIE ZAHM: Americana, 2002



Charlie Zahm: "Medley: Rebel Soldier / Dixie Land"
Música celta y americana antigua.
Barítono.


Guitarras:
Charlie's favorite guitars are his Martin D-45, his Larrivée J-10, his Taylor 955 jumbo 12-string and his Taylor W-15. He uses nearly all in concerts, all are "road guitars." Charlie also uses his Taylor 955 12-string whenever he needs the gorgeous rich tone, and it's more playable than any other 12-string Charlie has tried.





Americana
2002

01 - The Good Olde Colony Days
02 - Come All Ye Fair and Tender Ladies
03 - Blacksmith of Brandywine
04 - Blow Ye Winds in the Morning
05 - Poor Wayfaring Stranger
06 - All Quiet Along the Potomac Tonight
07 - Tenting Tonight-Battle Hymn of the Replublic
08 - Roll, Alabama, Roll
09 - Lorene
10 - Cumberland Gap
11 - Sweet Sunny South-Dixie's Land
12 - The Meeting is Over




Best of The Early Years
2009


1. The Minstrel Boy ( 3:57) Thomas Moore*
2. Rise and Follow Charlie (4:24) Mrs. Norman MacLeod
3. Skye Boat Song (6:00) Sir Harold Boulton/ Traditional air
4. Spanish Lady (3:14) Traditional
5. Annie Laurie (3:44) William Douglas
6. Johnny I Hardly Knew Ye (5:54) Traditional
7. Jigs: The Butterfly/Morrison's/Snow on the Windowsill (3:26) Traditional
8. Bells of Rhymney (4:00) Idris Davies/Pete Seeger*
9. Rolling Hills of the Borders (3:52) Matt McGinn
10. Dumbarton's Drums (3:56 ) Traditional
11. Hills of Glenshee (4:15) Traditional
12. Galway Races (3:04) Traditional
13. Wild Mountain Thyme (4:00) Traditional
14. Jigs: Boys of the Town/Langstrom's Pony/The Kesh (2:48) Traditional
15. Roddy McCorley (3:20) Ethna Carbery
16. Reels: The Convenience/The Staten Island (2:42) Traditional
17. Broom o the Cowdenknowes (4:26) Traditional
18. The Parting Glass (3:36) Traditional*

* previously unreleased recording





Charlie Zahm is one of the most popular soloists at Celtic music festivals, Maritime and Early American music events anywhere east of the Mississippi. With a baritone voice some have described as "coming along once in a generation," Charlie has become one of the most successful performers on the Celtic festival circuit, weaving magical moments of Scottish and Irish history for the listener and viewer, with passion for the performance and a chosen repertoire pleasing to all members of the family. A master of the guitar as well, Charlie brings an authentic love and respect for the music he sings—and with dashes of humor and a light in his eyes, he will draw you into the stories of his songs!





LORENA

Writers Rev. Henry DeLafayette Webster & Joseph Philbrick Webster (no
relation to each other) written in 1857

Key F

(F) THE YEARS CREEP SLOWLY (F7) BY, LO - (Bb) RE - NA,

THE (C7) SNOW IS ON THE GRASS A - (F) GAIN;

THE SUN'S LOW DOWN THE (F7) SKY, LO - (Bb) RE - NA,

THE (C7) FROST GLEAMS WHERE THE FLOWERS HAVE (F) BEEN.

BUT MY (Dm) HEART BEATS ON AS WARMLY (Am) NOW,

AS (A7) WHEN THE SUMMER DAYS WERE (Dm) NIGH; (C7)

THE (F) SUN CAN NEVER (F7) DIP SO (Bb) LOW,

OR (C7) DOWN AFFECTIONS CLOUDLESS (F) SKY.



A HUNDRED MONTHS HAVE PASSED, LORENA,
SINCE LAST I HELD THAT HAND IN MINE,
AND FELT THE PULSE BEAT FAST, LORENA,
THOUGH MINE BEAT FASTER FAR THAN THINE.
A HUNDRED MONTHS, 'TWAS FLOWERY MAY,
WHEN UP THE HILLY SLOPE WE CLIMBED,
TO WATCH THE DYING OF THE DAY,
AND HEAR THE DISTANT CHURCH BELLS CHIME.


WE LOVED EACH OTHER THEN, LORENA,
MORE THAN WE EVER DARED TO TELL;
AND WHAT WE MIGHT HAVE BEEN, LORENA,
HAD BUT OUR LOVINGS PROSPERED WELL.
BUT THEN, 'TIS PAST, THE YEARS ARE GONE,
I'LL NOT CALL UP THEIR SHADOWY FORMS;
I'LL SAY TO THEM, "LOST YEARS, SLEEP ON!
SLEEP ON! NOR HEED LIFE'S PELTING STORMS."



THE STORY OF THAT PAST, LORENA,
ALAS! I CARE NOT TO REPEAT,
THE HOPES THAT COULD NOT LAST, LORENA,
THEY LIVED, BUT ONLY LIVED TO CHEAT.
I WOULD NOT CAUSE E'EN ONE REGRET
TO RANKLE IN YOUR BOSOM NOW;
FOR "IF WE TRY, WE MAY FORGET,"
WERE WORDS OF THINE LONG YEARS AGO.


YES, THESE WERE WORDS OF THINE, LORENA,
THEY BURN WITHIN MY MEMORY YET;
THEY TOUCHED SOME TENDER CHORDS, LORENA,
WHICH THRILL AND TREMBLE WITH REGRET.
'TWAS NOT THY WOMAN'S HEART THAT SPOKE;
THY HEART WAS ALWAYS TRUE TO ME:
A DUTY, STERN AND PRESSING, BROKE
THE TIE WHICH LINKED MY SOUL WITH THEE.


IT MATTERS LITTLE NOW, LORENA,
THE PAST IS IN THE ETERNAL PAST;
OUR HEADS WILL SOON LIE LOW, LORENA,
LIFE'S TIDE IS EBBING OUT SO FAST.
THERE IS A FUTURE! O, THANK GOD!
OF LIFE THIS IS SO SMALL A PART!
'TIS DUST TO DUST BENEATH THE SOD;
BUT THERE, UP THERE, 'TIS HEART TO HEART.



Words by Rev. Henry DeLafayette Webster, music by Joseph Philbrick Webster
(no relation to each other). Written in 1857
This is a pre civil war song which achieved wide popularity during the
conflict. For some reason, the song became a particular favorite of the
Confederancy and, in time, came to be identified with the Southern cause.
Hundreds of Southern girls were named for the song's heroine, while several
pioneer settlements and even a steamship proudly bore the name. One
Confederate veteran claimed to have "heard it more during the war than any
other song."

J.P. Webster, creator of the melody, was a collaborator of S. Fillmore
Bennett, with whom he wrote several Civil War songs, including "The Irish
Volunteer" and "The Negro Emancipation Song." Their best-known work,
however, was one of the most popular hymns of all time, "Sweet By and By,"
1868.

J.P. Webster also wrote, "I'll Twine 'Mid the Ringlets" 1860, which became,
"Wildwood Flower."




The Rebel Soldier (Southern Appalachian folk song)
by Anonymous

Oh, Polly! Oh, Polly! It's for your sake alone,
I left my dear old father, my country and my home,
I left my dear old mother to weep and to mourn -
I am a Rebel Soldier and far from my home!

It's grape-shot and muskets and the cannon lumber loud,
There's many a mangled body, with dew for it's shroud,
There's many a mangled body left on the field's alone -
I am a Rebel Soldier and far from my home!

You'll drink your fine brandy, and I will drink my wine,
You can drink to your true love, and I will drink to mine,
You can drink to your true love and I'll lament and mourn -
I am a Rebel Soldier and far from my home!

I'll eat when I'm hungry, I'll drink when I'm dry,
If the Yankees don't kill me, I'll live until I die,
If the Yankees don't kill me and cause me to mourn -
I am a Rebel Soldier and far from my home!

I'll build me a castle on some green mountain high,
So, I can see Polly as she comes passing by,
So, I can see Polly and help her to mourn -
I am a Rebel Soldier and far from my home!
I am a Rebel Soldier and far from my home!

miércoles, 7 de julio de 2010

Luthiers: COLLINGS D1

Collins D1
Acústica de sonido limpio y brillante.
Celta, folk, country, bluegrass




Bill Collings moved from Ohio to Texas in the mid 1970’s. Spurred by a lack of interest in medical school, this move enabled him to combine lifelong interests in both guitars and tools into the challenge of stringed instrument building and repair. After a couple of years in Houston, several guitars and a few banjos later, he headed west to southern California. Making it only as far as Austin, he shared shops with fellow luthiers Tom Ellis and Mike Stevens. From there, he set up his own small shop in a wooden "one car" garage. His reputation for outstanding quality and meticulous attention to detail quickly spread. In 1989, he rented a 1000 square foot space and hired two helper.




Dimensions

Body Length: 20"
Body Depth: 4 7/8"
Lower Bout Width: 15 5/8"
Total Length: 40 1/4"
Scale Length: 25 1/2"
Standard Nut Width: 1 11/16"
Strings

Factory Strings: D'Addario EJ-17 (.013"-.056")
Recommended Gauges:



he square-shouldered 14-fret dreadnought is the most popular steel-string acoustic guitar body shape in the world. While Collings is certainly not the first to build them, we bring a new tonal clarity to the depth and warmth usually associated with such a large, deep-bodied guitar. Although its bass response makes the dreadnought ideal for vocal accompaniment, Collings versions are also often employed by bluegrass flatpickers who must compete with inherently louder instruments such as banjos and fiddles. The wide range of woods and neck sizes offered allow dreadnought fans to find a Collings model ideally suited to their playing style and tonal preference.



Select Sitka spruce
Honduran mahogany back & sides
Tortoise-style binding
Simple walnut backstrip
Pre-war scalloped bracing
Black/white wood nitrate strip rosette
Tortoise-style pickguard
High gloss nitrocellulose lacquer finish
Honduran Mahogany Neck
Ebony fingerboard and bridge
Ebony peghead overlay
Mother-of-pearl Collings logo
Pearl dot fingerboard markers
Fully adjustable truss rod
Bone nut and drop-in saddle
Ebony bridge pins and end pin
Nickel Waverly tuners






Collings D-1A SB Varnish (used – 2007) Like New condition. This is a D-1 to the hilt with a ‘30’s Martin style sunburst, wide grain Adirondack top, figured Mahogany back and sides, tortoise shell style binding, and varnish finish. Ebony peghead overlay with mop Collings logo inlaid and open back nickel plated Waverly tuners, ebony fretboard with dot inlay, *vintage now* neck with 1 ¾” nut, ebony bridge, and dark tortoise shell style pickguard to match the binding. A very powerful guitar with great playability. OHSC List new would be $7,150.00, our price is $5,450
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