Showing posts with label Bones. Show all posts
Showing posts with label Bones. Show all posts

Tuesday, 18 August 2020

Singabout - Journal of Australian Folksong, Volume 2(3), December 1957

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1.   Singabout, Volume 2(3), December 1957 - cover - Herb Gimbert

2.   Singabout, Volume 2(3), December 1957 - EDITORIAL - New magazine from Canada ... SING ALONG.  Goondiwindi Song - One of the petty annoyances encountered in the publishing of folk songs is that no sooner has a song been printed that new versions turn up all over the pale. While our last issue was at press the editor collected an additional verse .. Now Russel Ward at the University of New England contributes a variant fragment ...  CONTENTS

3.   Singabout, Volume 2(3), December 1957 - The Shores of Botany Bay. Sung to the editor by "Duke" Tritton, of Concord, N.S.W., "Duke" has heard another song to the same tune called The Shores of Americay.

4.   Singabout, Volume 2(3), December 1957 - Banana-Benders Ballad Night. Ballad night at the Manifold's Wynnum North (Q) has become an annual event for all the bush-musicians in the Brisbane area.  ... Queensland University Bush Music Club ... collected their own WILD COLONIAL BOY.  ... Blackburn sisters won the under-17 trophy with CONVICT MAID. ... Practically every entry deserves praise.  The very youngest competitors were the Wynnum North Greenhide & Stringybark Orchestra who hand-made their own instruments, ages range from 6 to 12.  ... Morton Bay Girls High School electrified us with a lovely ANDY'S GONE WITH CATTLE, two-part with zither. ... Flu cut down the adult teams ...  One remembers the unaffected and authentic recitations of Paterson by Brisbane Realist Writers: the vivid hornpipes and JACK POWER by Malouf's Mob; the virtuoso percussion of the Banana-Benders: the De Vidas' family's world-wide repertoire done with great dramatic force: the heroic remnant of the Morton Bay Bushwhackers in THE OVERLANDERS  and TEN THOUSAND MILES AWAY: the lovely tone-colour of the Bandicoots mandolins and guitars: and the balanced part-singing of Peter Hickinbotham's Brisbane Singers.  ... nearly very team had something new for us: one WILD ROVER, two COLONIAL BOYS, and THE CONVICT MAID were "first-evers"  ... Not all bands now consider the lagerphone essential; spoons and currajong clappers, kerosene-tin drums and castanets added percussive variety to the programme.  ...  But youth was the real feature of the night! Eighteen competitors were under 17 years of age; and four others eliminated by flu, were just as young. The bearded figure with the concertina no longer typifies bush music in my mind's eye: he is balanced by an enchanting small girl blowing terrific bass G's from an empty bottle.  ...  The evening was not without it's lessons. The A.D.D. reminded us we need to dance as wall as play ...


5.   Singabout, Volume 2(3), December 1957 - A GUM TREE CANOE - this unusual song was sent to SINGABOUT by Frank Nickel, leader of the Melbourne Billabong Band. Frank writes "It was sent to us by Mrs J. Wilson who we met at one of the functions where our band has performed. The song was remembered by members of her family, who learned it from an old chap, Freddie Bolton, en employee on their farm at St. Arnaud about 30 years ago. He was in the habit of sitting at the door of his hut of an evening, playing his fiddle and singing many of the bush songs"

6.  Singabout, Volume 2(3), December 1957 - WALLABY LIZ  words and music by Stan Wakefield, who writes Wallaby Liz may of may not have been a real person long ago, but thirty-odd years back in the tall timber country of South Gippsland, which is noted for it's axemen rather than horsemen, she was a local legend and the stories of her wild gallops through the bush were numerous. But legend was unkind to her and gave her a much less happy end than I have given her in my song.

7.  Singabout, Volume 2(3), December 1957 - WALLABY LIZ  (cont). With lute and guitar. Barbara Lisyak (above) who sings folk songs from many countries, has made several TV appearances and has recently been recorded by Wattle. "Fran" Shaw accompanies her singing with the lute, a beautiful instrument that is rarely heard these days. "Fran" is an enthusiastic Bush Music Club member and performs with the Club's Concert Party. Our Cover Photo - Herb Gimbert , of Erskineville, is a regular attendant at out Club Workshop nights. He plays both button accordion nd tin whistle, and often provides the music for a reel or a varsovienna.

8.   Singabout, Volume 2(3), December 1957 - NEW BOOKS - Songs from the Bush, collected & edited by John Meredith and others, and arranged by Alfred Hill. (Allen & Co Pty, 5/-) A composer with an international reputation has collaborated in the preparation of SONGS FROM THE BUSH. Australian composers of what is popularly known a"serious music" have, almost without exception, wholly ignored or been unaware of Australian folk songs. It is to be hoped that Alfred Hill's interest will boost the work of that small body of Australians who in recent years have assiduously been collecting and endeavouring to popularise their native songs ...

9.   Singabout, Volume 2(3), December 1957 - Songs from the Bush, (cont)  ... All in all, Songs from the Bush, is great fun to sing and play, and a valuable contribution to Australian culture. It is to be hoped that the book will prove popular enough to encourage the same collaborators, and others to present more Australian folk songs in this way.  Peter Hickinbotham   Reviewed in Brief - THE AUSTRALIAN ACCORDIONIST. Notes and news about the accordion and harmonica, available from Kurt Jacobs & Co, Sydney. SING OUT - Mainly American folk songs, topicals and features, available from Sing Our Inc, New York. JOURNAL OF THE ENGLISH FOLK DANCE AND SONG SOCIETY. The wealth of British folk lore contained in this annual makes it a must for all folk singers nd students. Now in it's 58th year ...  available from Cecil Sharp House, London. ENGLISH DANCE AND SONG. The magazine of the the above society is published every two months. Other publications received - THE QUEENSLAND BUSH TELEGRAPH (Q'ld Bush Music Club), SING (The London Youth Choir), SINGALONG  (Ray Hull, Vancouver)

10.  Singabout, Volume 2(3), December 1957 - How to RATTLE YOUR BONES. Everyone who rattles the bones has his individual technique and his on special method of preparing the instruments. Dud Mills of Mudgee who performs with the Holland boys, belongs to the "hardwood"school and describes here his techniques:  ...
Les Ross of Woy Woy who sometimes accompanies "The Four Sisters" ensemble, use the real bullock ribs.  Here is Mr. Ross' method of preparing the bones for playing ...

11.   Singabout, Volume 2(3), December 1957 - OLD T.I. Here is a song that comes from Thursday Island, at the tip of Cape York Peninsular. It is fairly well known in Northern Queensland, but the Thursday Islanders regard it as their own song. Alan Scott recorded it from the singing of Mrs Peg Pemberthy of Brisbane, who had learned the song from T.I. seamen in Cairns.

12.   Singabout, Volume 2(3), December 1957 - BALLAD OF NORMAN BROWN. In February 1929 ten thousand miners received dismissal notices at 27 collieries controlled by the Norther Colliery Owners' Association ... In November of the same year six thousand miners marched at Rothbury in protest against the use of scab labour in the pits. The police provoked a riot, used firearms and killed a young miner named Norman Brown ... A song composed by R. Grant called A SAD DAY ON THE COALFIELDS describes the funeral of Norman Brown and was sung for years afterward ...   "He was not engaged at the time of his death in any breach of the law"  Now after 28 years Rothbury is remembered again in this ballad by a young Sydney poet, Dorothy Hewett. The tune is an adaption of a traditional Scottish song. THE COLLIER LAD.

13.   Singabout, Volume 2(3), December 1957 - BALLAD OF NORMAN BROWN - words Dorothy Hewett, Tune: Traditional, The Collier Laddie

14.   Singabout, Volume 2(3), December 1957 - OUT ON THE CONDAMINE - This song is descended from a long line of British ballads with the same theme.

15.   Singabout, Volume 2(3), December 1957 - THE STATION HAND'S REPLY - This comment on the "town verses country" argument was written by 24-year old Trevor Rose, a station hand employed on the Inglewood Estate, near Merrywinebone, NSW. The editors suggest it be sung to the tune PADDY FAGAN, printed here.

16.   Singabout, Volume 2(3), December 1957 - Friday night is Workshop Night at the Bush Music Club. Every Friday night at 7.30, in The Esperanto Studies, Ennis Road Milsons Point - right under the station on the Kirribilli side.  Three hours of traditional songs and dances - visitors welcome.

SINGABOUT.  Issued quarterly. Editor John Meredith. Asst editor Alan Scott, Art editor Gil Small, Orders & Subscriptions Gay Scott.  Published by Alan Scott.


Thursday, 14 December 2017

Visit by Steve Wixon of the Rhythm Bones Society (USA)

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In 1997 when the Internet was young an American woman set up a website as a gift to a bones-playing father - what else to do you give to a person who doesn't want anything?

In May 1998 Bob Bolton started a thread Dem Bones on the two year old American-based Mudcat Cafe site asking about bones, & sometime later sent his biography to the site.

Steve Wixon from the Rhythm Bones Society recently visited Sydney & a group of players gathered to meet him. Bob was unable to be there as were several out-of-Sydney members. 



Dale Dengate, 2-handed player
 
Frank Maher (bones player since late '50s), Dale
Steve & Wally Bolliger



 Dale & Ann

Sharyn has had unsuccessful lessons from Wally over the years, but after 2 lessons from Steve was playing!














Dale, Wally, Steve, Sharyn, Ann & Frank
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A few weeks later Sharyn demonstrated her bones technique to Wally's brother George







(photos - Sandra Nixon)

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Saturday, 14 October 2017

Bones - Part 3 - Singabout Article in Mulga Wire no. 101, February 1994

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Part 1        Part 2












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Sunday, 30 July 2017

Bones - part 2 - Collections of Bob Bolton & Ralph Pride

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Part 1    Part 3

Thanks to Bob for sharing his collection & to Ralph Pride for the photos.
 

Bob's collection

Aboriginal Clapping Sticks

Rounds  



Wikipedia on Bones - check out the Ancient Greek example!


1998 post by Bob Bolton on the American-based Mudcat Cafe online discussion group
G'day

I know that the main criterion was how good they sounded. One old butcher I talked with worked as a boner in a large meatworks in Sydney, during the 1930s. He said that the Vaudeville performers would spend hours looking through the discarded bones "for the Ivory ones, the big solid ones".









Even then, when cattle were still walked in from cattle stations (ranches) it was hard to get as heavy and hard a bone as they liked for stage use. Their need was a high, sharp sound that penetrated and carried to hundreds of people without any amplification. I have a solid bone set from this era. They are not rib bones but a pair sawn from a single shin bone and ground to final shape. They carry marvelously but are too aggressive for use in a friendly session!



Drawing by Bob of old bones  (BMC archives)


Old bone

I have one very old rib bone (no pair, alas) that is larger than I have ever seen on the sort of beast that ends up as steak today. This is an almost flat section about 8 1/2" by 1 1/4". That was one hell of a big steer! I suspect that it would be too slow to play rhythm to modern music, anyway.
Lignum Vitae (now rare; hard, heavy tropical wood) could be crafted to get much the same sound. This was a definite standard in some areas of Vaudeville (a request for Lignum Vitae from one of the old bones players I met a Festival led me into this area) but it is hard to get today. I try for a deeper 'clonk' sound at good volume to suit smaller grouping - and can make use of microphones today.

Lignum Vitae bones


Ligmun Vitae & Walnut bones

I have seen several sets of manufactured bones from the 40s and 50s - narrow (~5/8" - 3/4") and possibly bent from sections cut from heavy straight bones (suggested by the curvature of the cross-section). I have no idea if these were sold in the same form earlier, but that seems logical, as their heyday was much earlier. Their sound is high and sharp and they are fairly small (~6 1/2" long) so they could play very fast.
I talked with a man who was in a children's home in the 30s. The kids there all played wooden bones, but their trick was to steal the slats from the shutters on the local train carriage windows. They cut these to length and played them as straight sections (I am definitely of the bent bone bent!). He said the wood was often too soft for a good sound, so they hardened the striking surfaces in the flame of a candle.
I am interested to know what woods are used in America, as well as Oak. We have a number of very heavy and hard woods in Australia - currently I'm looking at Ironbarks: typically 1.05 - 1.1 specific gravity - i.e., they sink like a stone in water. These are durable and (if finely crafted) can produce a good medium/high sound for large sessions and acoustic dance music.


I gather the American playing styles favour the multiple approach - at least one set in each hand. I play the more British style with a single set, striving for high speed when needed by rapid action, not multiple patterns. However, we do see two-handed players among the old-timers - I have seen one really good player work with eight bones!
Some of the stage performers used two sets for complex counter-rhythms to accompany stories. I remember standing enthralled around the campfire at a Festival around 1990 while one fellow gave a long description of a train journey - complete with all its rhythms.
I had better stop rattling away for the moment!




Commercial Bakelite Rythm Bones  Bakelite bones were patented in 1948 by Joe Birl in Pennsylvania, USA. (colour changed to show writing)

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Photos of Bones & Cheatin' Bones f
ound in 1998 photo album

1.  Pair made from animal bone

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Ralph's collection



Bob's bones probably came from this set.






Very early bones (made of bone), given to Ralph by Jamie Carlin years ago.

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Bones belonging to Jude Stuart that were around when the photos were taken.






(Photos - Ralph Pride)

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