Holsworthy Fair: Songs, Tunes and Stepdances from a Devon Gypsy Family by Tom Orchard;Jean Orchard; Ashley OrchardReview by: Paul CowdellFolk Music Journal, Vol. 9, No. 2 (2007), pp. 277-279Published by: English Folk Dance + Song SocietyStable URL: http://www.jstor.org/stable/4522824 .

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278 FOLK MUSIC JOURNAL

accompanied by two melodeons. The CD notes suggest that the latter is still popular at family singing evenings. Does this imply a difference in attitude towards accompanied and unaccompanied material, or towards 'appropriate' ways of handling material from different sources?

This may be worth pursuing, as the other two accompanied songs here are sentimental pieces from recordings by Foster and Allen, performed as duets by Tom and Jean. The remaining song, though, is an unaccompanied 'Dark-Eyed Gypsy', learned from the singing of Chris Coe in the 1970s. Of course, traditional musicians continue to bring new material into their repertoires from any number of sources. Finding new material being assimilated into an existing style is an indicator that a tradition is healthy and is continuing to develop.

In the case of Jean Orchard's songs, though, we may not perhaps have gone quite far enough yet. She says that as a child she learned her grandmother's songs from her mother, but that they also learned country-and-western songs together from records. The Wiggy Smith CD broke some ground by including this part of the repertoire, but it is not represented here. However, as Jean's other songs, and parts of the tune repertoire, indicate, exposure to and collaboration with other musicians is itself determining the direction the family tradition is taking. Is she still singing the Jim Reeves songs? If so, is there a selection process being applied for a specific audience?

There is less information given about the origins of the tunes than the songs, but similar questions arise. Some tunes are from family tradition, while others are from a more general local repertoire. There has clearly been extensive musical exchange with family friend Bob Cann and his grandson Mark Bazeley. Ashley, still in his teens, contributes two solo sets, one of Jimmy Shand tunes, the other the 'Mexican Tune', two Tex-Mex tunes learned at the Dartmoor Folk Festival organized by Cann's family.

At the same time, a medley of well-known song tunes ('Sean South of Garryowen' and so forth) highlights some problems. It is presented as a medley, but the tunes are cross- faded. Without recording information, it is difficult to know their context. Although the booklet refers to pub sessions, it is unclear whether these are the family-run sessions at the Dartmoor Festival or other, more general sessions. If the latter, then this might again suggest a slightly different repertoire.

One especially welcome feature is the accompanying booklet. As ever with Veteran, it is well illustrated and designed, but what makes this so pleasing is that the notes are written by Jean Orchard, giving her a voice in the music she makes. She draws out the family's connections with other musicians and puts some of the music into its social context. She describes Tom learning the melodeon during a period of recuperation, and her own domestic singing. She also poignantly relates how the deaths of two of their older sons, Nathan and Anthony (who also participated in the family music), left her and Tom unable to continue playing. It was Ashley's interest in the melodeon that prompted them to play again. We have a lot to thank him for.

There are minor niggles with the booklet. It took some scouring of Veteran's website

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REVIEWS - SOUND RECORDINGS 279

to confirm that the notes on the songs were written by John Howson, not Jean Orchard, and it remains unclear who contributed the notes on the tunes. This would be good to clarify, given how much else the release contributes to our awareness of the tradition.

PAUL COWDELL National Centrefor English Cultural Tradition, University of Sheffield

1 Vic Legg, I've Come to Sing a Song: Cornish Family Songs, CD (Veteran VT129CD, 2000); My father's the king of the gypsies: Music of English and Welsh Travellers and Gypsies, The Voice of the People, ed. by Reg Hall, vol. 1 1, CD (Topic TSCD661, 1998); Betsy Renals, Sophie Legg, and Charlotte Renals, Catch Me If You Can: Songsfrom Cornish Travellers, CD (Veteran VT1 19CD, 2003); Wiggy Smith and Other Smith Family Members, Band of Gold, CD (Musical Traditions MTCD307, 2000).

REVIEWS - SOUND RECORDINGS 279

to confirm that the notes on the songs were written by John Howson, not Jean Orchard, and it remains unclear who contributed the notes on the tunes. This would be good to clarify, given how much else the release contributes to our awareness of the tradition.

PAUL COWDELL National Centrefor English Cultural Tradition, University of Sheffield

1 Vic Legg, I've Come to Sing a Song: Cornish Family Songs, CD (Veteran VT129CD, 2000); My father's the king of the gypsies: Music of English and Welsh Travellers and Gypsies, The Voice of the People, ed. by Reg Hall, vol. 1 1, CD (Topic TSCD661, 1998); Betsy Renals, Sophie Legg, and Charlotte Renals, Catch Me If You Can: Songsfrom Cornish Travellers, CD (Veteran VT1 19CD, 2003); Wiggy Smith and Other Smith Family Members, Band of Gold, CD (Musical Traditions MTCD307, 2000).

Around the Hills of Clare: Songs and a Recitation from the Jim Carroll and Pat Mackenzie Collection

Double CD + 40 pp. booklet. Musical Traditions MTCD331-2/Goilin Records 005-6, 2004.

<http://www.mustrad.org.uk> <http://www.goilin.com>

As a rule, when people with an interest in Irish music refer to localities famed for their rich

Around the Hills of Clare: Songs and a Recitation from the Jim Carroll and Pat Mackenzie Collection

Double CD + 40 pp. booklet. Musical Traditions MTCD331-2/Goilin Records 005-6, 2004.

<http://www.mustrad.org.uk> <http://www.goilin.com>

As a rule, when people with an interest in Irish music refer to localities famed for their rich inheritance of traditional music and dance, County Clare is one of the first places that trips almost unbidden off their lips. In my own experience of travelling to Clare in search of music, or perhaps even more importantly, of a certain ambient environment where traditional music sits comfortably, this reputation is well founded. No surprise then that there should be a strong tradition of unaccompanied solo singing in such a place.

Irish traditional music, song, and dance is now a global diasporic phenomenon. Not only does it have a vibrant life in the places throughout the English-speaking world touched by large waves of Irish emigration throughout the nineteenth and twentieth centuries, but it also extends to many countries in the non-English-speaking world, in particular continental Europe. That said,

inheritance of traditional music and dance, County Clare is one of the first places that trips almost unbidden off their lips. In my own experience of travelling to Clare in search of music, or perhaps even more importantly, of a certain ambient environment where traditional music sits comfortably, this reputation is well founded. No surprise then that there should be a strong tradition of unaccompanied solo singing in such a place.

Irish traditional music, song, and dance is now a global diasporic phenomenon. Not only does it have a vibrant life in the places throughout the English-speaking world touched by large waves of Irish emigration throughout the nineteenth and twentieth centuries, but it also extends to many countries in the non-English-speaking world, in particular continental Europe. That said,

MTCD331-2 G6ilin 005-6 MTCD331-2 G6ilin 005-6

however, it is important not to lose sight of the culture and environment from whence however, it is important not to lose sight of the culture and environment from whence

This content downloaded from 91.229.229.44 on Sat, 14 Jun 2014 21:02:40 PMAll use subject to JSTOR Terms and Conditions