David Bar Katz

Hull-Oakes Sawmill

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His fiddling represents a truly Pacific Northwest style. Gil is a dance fiddler's dance fiddler. Whether he's punching out a jig or a hoedown for square dancing, a stomp, waltz, schottische or a polka, there's no mistaking that this fiddler means business, and that business is dance music.

Billy Lee is a legend in Missouri fiddling, both as a dance fiddler and entertainer. His family has been in America since , and in Missouri since His fiddling reflects the German and English traditions of his family. Billy Lee came from a fiddling family and he has been playing since childhood. He plays the old hoedowns for square dancing, the show tunes from the old Grand Ole Opry days, and plays good bluegrass fiddle.

He is well known for his fine entertainment in the dance halls and jam sessions in eastern Missouri. John Hartford credited Billy Lee as being one of his main inspirations to take up the fiddle. Recorded live in Mr. Lee's living room with full band backup on guitar, banjo, and bass, it's "toe tappin' good! There were two fiddlers on the Lewis and Clark expedition as they explored and mapped the route between St.

Louis and the mouth of the Columbia River in The fiddling and dancing helped to maintain the morale of the men and to establish good relations with the Indians. Howard Marshall fiddle, fretless and fretted banjo ; champion Northwest fiddler and historian, Vivian Williams fiddle, harpsichord ; champion Missouri fiddler John Williams fiddle, percussion ; and noted Northwest traditional musician, Phil Williams guitar, mandolin.

Many of the selections feature just two fiddles, with one fiddle backing up the other, and simple percussion. Recorded live in stereo to preserve the natural acoustic sounds of the instruments. Included is an informative booklet with histories of tunes and information about music on the expedition. This is a CD for good old time square dancing, with a couple of waltzes, a jig, and a polka thrown in, just as at a typical Western old time country dance.

The fourteen hoedowns are played long enough for most callers. Vivian Williams is one of the West's best known dance fiddlers with many national, international, and regional fiddle championships as well. Her husband, Phil Williams , has been doing these dances ever since he was a small child. While he plays almost anything with strings on it at a dance, here he sticks to mandolin and bass.

Two of the recordings made by this band are still in press as CDs, and still influence present day bluegrassers. He is one of the true masters of bluegrass style banjo. On this recording Harley's wife, Shera Bray , sticks to guitar, but in real life she also plays mandolin and fiddle, and even calls dances! A lot of the tunes on this CD are a part of America's old time dance music heritage.

A few are relatively unknown. So, get on your dancing shoes and let's all have a good old fashioned hoedown! He grew up on a wheat farm, and at an early age was working in the fields, tending cattle and wrangling horses. His dad was a fiddler, and by the time he was in high school he was playing fiddle, guitar and Hawaiian guitar for dances in Southeast Washington and Northeast Oregon.

After he retired from the grocery business in Seattle, he joined the Washington Old Time Fiddlers Association, revived many of his old tunes and picked up some new ones from other fiddlers. This is a great selection of tunes, some familiar and some not so well known, by one of the most authentic old time dance fiddlers we have met.

Floyd and his band play good old time fiddle tunes and songs as they were meant to be played for dancing and listening. He plays in the typical Pacific Northwest dance fiddler style, with a very experienced band with whom he has been playing for many years. Floyd and his band have been mainstays at old time fiddle shows in the Puget Sound area in recent years. It has been a pleasure for us to record and release this recording of Floyd and his band.

This type of fiddling, which used to be found at dance halls all over the Pacific Northwest, sadly is vanishing along with old time country dances and the dance halls.

As a small child he fell asleep listening to the sound of his father's banjo and a neighbor's fiddling at local square dances. He started playing a "cornstalk fiddle," and at age seven started playing the banjo, learning fiddle tunes from his father. A few years later he picked up the fiddle and started playing for the local square dances. Carthy plays in a generally Southern style, with a lovely sense of melody, phrasing, and bowing. He picked up other tunes from fiddlers in the Pacific Northwest, and has been a regular performer at fiddle shows, campouts, and jam sessions in the Northwest for many years.

He is accompanied here by the wonderful old time banjo playing of Jeanie Murphy, and the steady guitar of Jim Ketterman, with who he has performed for many years.

Carthy's music has been enjoyed by many listeners in the Pacific Northwest, and he has inspired many young fiddlers who have learned tunes from him. The liner notes give a fairly extensive background on Carthy. Gary Lee came from a fiddling family in Oklahoma. Among his heroes were Orville Burns, Benny Thomasson, and Clark Kessinger, and their influence shows in the liveliness, humor, and expressiveness of his fiddling.

Gary Lee is a fiddle legend in the West! Scandinavian dance music played by Jeff Anderson and his wife, Jane Johnson, with the Nordic Exposure Band and other musicians with whom they perform and play dances.

Both of Jeff's grandparents were old time fiddlers of Norwegian heritage from North Dakota, and he plays in a uniquely sweet, smooth, and danceable style.

Jane Johnson has been playing dances in the Puget Sound area for many years. They both can be found with their bands at many Scandinavian dances in the Pacific Northwest.

Lively Canadian-Irish-Scottish fiddling from this great Manitoba-born fiddler, recorded when he was 92 years young. He learned his tunes from fiddlers on the Canadian prairie and picked up a lot of tunes from well-known collections, such as Cole's Fiddle Tunes.

He gives the tunes a personal touch that could never be depicted in a tune book! He is one of the best fiddlers we have ever met and we are delighted to release our second CD of his outstanding playing and great choice of tunes.

McMahan, from Harrisburg, Missouri, was born in and died in He developed a personal fiddle style that firmly echoes the Missouri fiddle tradition, and became a role model and teacher, both formally and informally, for a generation of young fiddlers. His fiddling influenced, and continues to influence, fiddlers from Missouri to the Pacific Northwest as well as elsewhere.

He played in a clean style, paying close attention to the demands of the tune for phrasing and styling, and applied his own sense of styling to develop many well known, as well as obscure, fiddle tunes into examples of the best of the art of fiddling.

While Pete did enter and win many fiddle contest, he is not a "contest" style fiddler, but rather one whose fiddling and interpretation of the tunes is so good that he was admired and respected by fiddlers from other traditions. McMahan's fiddling career and many photos, and a discography and listing of articles about him on the inside of the tray card.

Various artists and performing groups, including: It is sponsored by the Tenino Lions Club. They bring in musicians largely from Southwest Washington who perform in their local community halls, schools, churches, and their own living rooms.

All performers contribute their performance and the proceeds from the Festival which fills up the high school gym go to civic improvement projects in Tenino. The Lions present a broad range of performers - fiddlers, gospel groups, bluegrass, banjo bands, harmonica players, local dance bands, etc.

From through the Festival performances were recorded by us and others. We issued three Lps from these recordings in the s. This CD features a wide selection of instrumental performances from the original master tapes from these early years of the Festival. It presents a slice of true Americana seldom heard on recordings today. Allen's dynamic and sensitive playing truly brings out the charm of the unaccompanied five string banjo and many of the styles in which it has been played over the past or so years.

The banjo became widely popular in America and Europe, and was a principal entertainment and dance instrument throughout the 19th century. It is to this day in the South and among banjo aficionados elsewhere. Except among those in the know, the tunes and playing styles that made the banjo so popular are not heard much today by the general public.

This recording by Allen illustrates very well why the banjo was so well regarded in popular culture in past times, and deserves this recognition today. He grew up with banjo music, and started learning it from his father at an early age. In over 35 years of playing he has learned many great tunes in different playing styles from many well regarded traditional players. On this recording he uses several banjos, each with its own sound and playing characteristics, and each suiting well the tunes played on it.

These include his Fairbanks 7 Whyte Ladie; an s nylon strung Cole's Eclipse; a 20 pound Okie Adams; and a replica of an Boucher fretless banjo, presently in the Smithsonian collection, which he makes for present day really "old time" players. On four of the selections, Allen is accompanied by Clif Ervin, the "Ambassador of the Bones," who grew up in East Texas in the s and started accompanying local banjo players on bones when he was seven years old.

He is still providing great rhythm to old time banjo players today, on real "bones" he makes himself! While Allen is true to the traditions of old time banjo playing, this recording is far from being an "academic" recital of banjo traditions - it lends itself well to being played and enjoyed over and over again! It will give banjo players additional insights into the potential of the instrument and entertain those who have not yet brought the banjo into their lives.

Allen, along with Clif, truly shows why the banjo became an entertainment mainstay in America and around the world. Floyd Engstrom grew up in the Puget Sound region, and was playing dances in the 's in the typical Pacific Northwest style. However, like a lot of fiddlers in the region he also was playing hymns and gospel tunes on his fiddle. These he plays in a simple, respectful way, in keeping with his strong religious beliefs.

It is a pleasure to enjoy listening to these tunes, some of which are fairly commonly known, and others that are not so well known. They bring true pleasure and inspiration. He is backed up very well on this recording by friends who have played with him at many fiddle shows and other events. Nelly Bly, Mazourka from Mr. Dancing was one of the most important recreational activities for pioneers in the West.

They danced squares, waltzes, mazurkas, schottisches, polkas, and Virginia Reels. Many of the tunes are well known while others are hardly known today at all. Some of the tunes commonly played today without all the original parts are performed with all parts as originally written in the 19th century. The selections offer a rare insight into the broad range of tunes danced to in the Far West over years ago.

This CD is the result of extensive research into the tunes from the region's pioneer heritage by Phil and Vivian, who grew up in the Pacific Northwest playing and dancing to many of them. The Williams have played traditional music together for over forty-five years and are well known in the West as music scholars and performers of the its old time dance music. The booklet with the CD contains extensive liner notes on pioneer dancing in the Far West and background of the tunes.

John White, fiddle, with the Nine Mile Band: Master old time square dance fiddler John White comes from a fiddling family in north-central Missouri. His fiddle playing style developed while playing for square dances in Shelby, Macon, Linn and Monroe counties, and his favorite fiddling venue is still the community square dances he and his wife, Betty, sponsor in Hallsville.

John has been a master fiddle teacher in the Missouri Traditional Arts Apprenticeship Program and is a regular member of the staff at the summer fiddle camp in Bethel. On this CD he is backed up on some selections by the Nine Mile Band, a square and contra dance band that includes piano accordion, guitar, and clawhammer banjo. On the rest of the tunes he is backed up by guitar, piano, bass, and old time Missouri style five string banjo.

This is contemporary old time Missouri dance fiddling played by a great Missouri fiddler with experienced Missouri old time dance musicians. Toe tapping fiddling and dance music the way it used to be, and still is, if you know where to find it! You'll find it here! The fiddle was the principal dance instrument on the Oregon Trail. Vivian and Phil Williams have been presenting this program of fiddle tunes played on the Trail for several years. She and Phil are regarded as among the foremost researchers and performers of the fiddle and dance tunes of the Pioneer West.

This program will make your feet tap and give you information about life on the Trail, the tunes, and the dances that can be found nowhere else. Vivian Williams - violin, cello; Phil Williams - guitar, mandolin; Paul Englesberg - wooden flute, silver flute, flageolet, concertina; Phil Katz - button accordions; Allen Hart - fretless and freted banjos; Terry Wergeland - melodeon. German Waltz, Polka from Sch. Barnhard of Florence, Dartmouth Sett No. Bellow, Quadrille Sett No.

The resulting gold rush brought over 5, miners to "Warren's Diggins," mining camp. A flute player named Peter Beemer started collecting and writing down tunes for a dance band he was forming. He had folks hum or sing their favorite dance tunes, got some tunes from itinerant music teachers coming through the camp, and other tunes from musicians who had come to Warrens. These tunes were written on foolscap paper by hand, Mr.

Beemer hand ruling the staves. He developed a manuscript of tunes for his dance band to play for the regular Saturday night dances at the tavern of fiddler Charles Bemis. The band was composed of two fiddlers, flute, button accordion, banjo, and an unidentified sixth member. The manuscript survived, and was discovered and published by Vivian. It is the only manuscript of what a dance band actually played for dancing in the West in pioneer times. For more information go to The Peter Beemer Manuscript.

The tunes are for the dances of the day - quadrilles, polka, schottische, waltz, mazurka, varsouvienne, and other ballroom dances of the period. The music ranges from a few well known square dance tunes, to challenging tunes, most of which have not been familiar to fiddlers for many decades.

This recording presents a selection of 25 of the different types of tunes in the manuscript. See the Liner Notes for more details. These tunes were played for dancing in the Willamette Valley, Oregon, in pioneer days. They come from The Haynes Family Manuscript , which was written by, played from, and handed down through several generations of the Haynes, Shuck, and Adams families.

They came to Oregon over the Oregon Trail in the middle of the 19th century and settled on Chehalem Mountain, southwest of Portland. The manuscript gives a fascinating glimpse into the music played for community dances in the pioneer West. The CD includes 26 tunes from this manuscript, including waltzes, polkas, schottisches, a gallop, and three quadrille sets arranged to fit standard quadrilles square dances of that time.

Five tunes in this manuscript also are in The Peter Beemer Manuscript see above , showing that these were the common dance tunes of that era in the Far West. The tunes are quite different from what historians have assumed were played here for community dances. While they were being played by common folks - millworkers, farmers, miners, orchardists - many of them require classical training to play. The tunes are performed on violin, piano, guitar, and flugelhorn by a trio of musicians who have play dances together - square, contra, and ballroom - for over twenty years, and who are among the best performers of 19th century popular dance music, particularly the dance music of the pioneer Pacific Northwest.

See the Liner Notes for more information about this recording. He represents a transition between the dance dominated fiddle traditions of earlier years and more contest and performance oriented traditions of today.

Travis has embraced elements of these influences to create a sound that's deeply traditional, surprisingly contemporary, and uniquely his own. This CD is an excellent representation of his powerful, articulate fiddling, with expert accomaniment by Charlie Walden on guitar and Patt Plunkeet on piano.

A truly exceptional contemporary traditional production by a trio of great players. Cliff Bryan, from West Plains, Missouri, was born in , and first learned to play from local fiddlers.

His diverse repertory also includes tunes learned from fiddlers heard on the radio and on records. He became involved with Missouri Traditional Arts Apprenticeship Program and has passed many of his unique tunes to a new generation of Ozark fiddlers. Most importantly, though, Cliff continues to play every week with a group of his musical friends in West Plains.

This CD contains a sampling of material that one is likely to hear Cliff play at one of these picking parties. Though many of the tunes may be familiar to you, his interpretation well may be different from other fiddlers you have heard. Liner Notes What the Reviewers Say. This is a CD of 57 fiddle tunes that work well on the mandolin.

These tunes are quite satisfying to play just on the mandolin, with no backup. Many are suitable for square and contra dance playing. Most of the tunes were recorded on the William's sailboat, anchored in a quiet cove in British Columbia, with Phil playing his Gibson F4 mandolin, and Vivian backing him up on her Gibson LG0 guitar. At Universal Pictures Bar Katz is penning a script based on the true story of two FBI agents who throw a fake wedding to arrest world class criminals.

He has had six plays selected for their annual Barn Series Festival between Always full of surprises. Bar Katz was one of the featured artists of Labyrinth theatre company's series of artist salons, exploring the process artist go through to produce a finished product The other salons featured muMs and Daphne Rubin Vega. Katz creates a fantastic biography of Jerry Siegel, the co-creator of Superman, to explore the roots of art and its relationship to the world.

The History of Invulnerability speaks to the troubled yearnings of the human soul. The spectacular production is well worth seeing. The script by David Bar Katz is a powerful piece of writing In a article Backstage mentions "The History of Invulnerability", saying the play has "Deservedly won several awards".

Katz wrote a one-act play "Mothra Vs. It then was produced at City Theatre in Miami as part of its short play festival. David Bar Katz has been married to author and children's book publisher Julie Merberg since , they live in Manhattan with their four sons, the eldest of whom is a young writer by the name of Morris Akiba Katz. He was a long time friend of Philip Seymour Hoffman , and was the one who found him dead on February 2, The Enquirer published an article that he was Hoffman's lover and gave him narcotics.

Neither being true, Katz sued, and it was settled two days later. Katz wished to honor Hoffman, rather than gain anything for himself.

From Wikipedia, the free encyclopedia. Alumni List - ". Long Night of Tribute".

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