M.

Regardless: the crowd on the field was hugely positive. I think moving forward pipe bands will find that matters more and more.

For anyone interested the name was inspired from the score sheet musings of the ensemble adjudicator at last year’s world’s qualifier: he scrawled, “not playing in the Scottish idiom“.

I think, like some of you, that the percussion accompaniment really makes the thing work. And, surprise, regardless of what bubbleicious1989 thinks, I really think the thing works. Drum Sergeant, Doug Stronach, bassist Reagan Jones and the whole percussionista group constructed inspired and appropriate scoring making great use of space.

Most pipe band people like their musical space jam-packed with clearly audible sound; lots and lots of notes – everywhere. Without “content” as I hear drummers call all them notes, there is no viable accompaniment. Like silence between two new acquaintances, rests or, open space (or “open real estate” as the drumming adjudicator wrote at last week’s contest), is generally uncomfortable for pipe bands. I hope that perspective changes.

One of the most common and ill-informed comments heard around is, “I can’t judge it if I can’t hear it” — usually said in reference to percussion rests in performance. Someone said, “silence is the best of all musical states”. Maybe. Maybe not. Regardless, I know silence in performance is not easy. Perfectly placed silence, or rest, is surely one of the most important and difficult elements in music. It takes a seriously deft hand to pick the right points in time to halt sound and accent melody with rest. A thought to be explored another day.

It’s becoming increasing clear to me that had we submitted “Idiomatica” as a group of named melodies – perhaps “sections” would be a less presumptive word since so many felt it amelodic – the performance would have been perceived very differently and less audacious.

Idiomatica is a medley freely assembled in the style of the band’s choosing. Like any other band in the contest, it is one group’s expression of a medley. A medley of melodies, one that starts off in one planned place and ends in another.

In orchestrating medleys, we can rest and be thankful.

M.

As a sixteen year-old I recall thinking I was pretty clever being able to march [while playing the pipes] to create a St Andrew’s Cross formation — all in a feather bonnet and plaid. The crowds loved it then.

But in this vid we see something on a whole new level! Seriously, wouldn’t your local Highland games crowds — and beyond — eat this Assam Rifles stuff up? I mean, be honest. For sheer entertainment, this trumps pipe band MSRs, medleys and just about anything the best our leading pipe band exponents might dream up.

Go Assam Rifles Pipes & Drums!

M.

I’ll save the lessons learned for another day maybe. Suffice it to say I made a lot of very expensive production mistakes.  We never learn from doing things right so, all-in-all, I have no complaints.

The fantastic string arrangement comes from Owen Pallet.  Owen was very involved in Shambolica!  I was lucky to engage him before he hit it big writing string arrangements for Arcade Fire among others. Bryan Greenwood brought his pop sensibility to the production – though you won’t hear evidence of that in the “Tam O’Shanter Suite”.

The piece was originally written for The Peel Regional Police Pipe Band, during the time I lead the band.  PRP did perform the piece – but never in competition.

I think I’d compete with this today – though it sounds a wee bit staid now when compared to some of the stuff people have the nerve to put out!

Imagine: a pipe band moves up to the line, with a flat-bed truck of orchestral musicans in tow, playing together as a real ensemble.  Sweet! (er, suite!)

M.

M.

Observations: 

Presentation: While performing with intensity, these bands appear relaxed!  Could it be their lack of strict uniforms?  Funky band logos?  I like this – a lot!

Music: with perhaps a little more harmony than we’d hear in the usual Scottish-style contest (excellent musicianship here, by the way), the selections of music are pretty conventional.  I suggest more Breton music in these selections would work perfectly in the current Scottish pipe band format – and give the medleys more character, more cultural authenticity.  Still, bands of very high quality. 

Web presence: the site, owned by L’assemblée des sonneurs en Finistère, must be the role model for any pipe band organization looking to market their people’s music.  Even the video work is a notch above what we see on youtube.com.

Merci Yo!

M.

The truth of the matter, though: bagpipes, destined to be a perennial novelty. 

 M.  

The most common zampogna is the version found in the Italian province of Molise.  Mouth-blown and with two drones and two chanters, the sound is rich and harmonious when in tune.  With four reeds to manage (all double-bladed) the Highland piper will have a lot of empathy with the reed challenges of his zampogna-playing compatriot.  The ciaramella, a mouth-blown oboe-like instrument is often played alongside the zampogna, much as the Bretons do with the pipes and bombarde.  I picked up one of Franco Izzi’s olive wood ciaramella instruments - they are double-reeded and fairly adaptable, I think, for a Highland piper’s fingers.   

The most accomplished zampogna player in Italy is Piero Ricci.  Thanks to my host’s seemingly limitless network of contacts I came to be parked front row centre at one of his band’s rehearsals.  Sitting in a cushy antique chair (one I was sure my arse would break if I moved in the slightest way) in the drawing room of a medieval castle in Macchia d’Isernia I found myself in the (seriously) eclectic company of about 40 of the local worthies…I’ll digress: 

While assured otherwise I arrived to the castle around  1500 h feeling like I’d crashed a party:  well underway in the castle dining room was what proved to be the tail-end of a “slow food” luncheon; in fact, a slow food exam for local graduating chefs.  At the tables were examiners and regular diners alike.  Melon and wine everywhere.  The mostly elderly slow food patrons, elegantly dressed, festooned in pearls, shimmering cufflinks and full of slow food, were in good spirits – inside and out.   My host, Duilio Vigliotti, handed me a glass, filled it and, quite rightly, moved on to acquaintances at another table. 

I should say now, a few weak words aside, I speak no Italian.  A cheeky Italian friend, Letizia Agostini, taught me, “ti piace il mio culo?”, (do you like my ass?).  I didn’t think that would go over very well as an ice-breaker at this table.  So, there I was: an instant bit player in what felt like a major scene from a Fellini movie.  A table for eight, me squeezed in as the ninth. Pass the wine.

Only one of my new table friends spoke any English.  This fellow, with a passing resemblence to a fuller-haired Jack Nicholson, said, “Yes, Toronto.  There are a lot of Molise people in Toronto.  I read your CN Tower is now number two.  The Arabs have beaten you”.  Cheers!

I’ll spare you the rest of the story.  It does continue.  I will say, even without the slow food, these moments turned out to be the best - and unforgetable. 

From the dining room we descended a flight of worn stone steps into the courtyard and on to the drawing room and rehearsal of Piero Ricci and his band Ecletnica Pagus.  It was fantastic.  I’ll leave it to you to have a look at the attached video I pulled together - judge for yourself.  The musicianship is stellar.  I can’t say I have ever heard a combination quite like Ecletnica Pagus.  Through his marvelous band, Piero Ricci is a tradition-bearer of the highest order, bringing zampogna music to an awful lot of new people.

One of the best musical memories of my Italian journey was the music of the Sardinian launeddas, a mouth-blown, triple pipe (2 chanters, one drone) performed without rests thanks to the technique of circular breathing.   It was with genuine surprise that I found one of Sardinia’s virtuoso launeddas players, Renzo Zucca,  attending the ”Big Italian Gathering” in Tuscany to further his knowledge of Highland piping.  Renzo’s music is incredibly rhythmic and complex.  His pipes are made of arundo donax, the same cane Highland pipe reedmakers use to make natural chanter and drone reeds.  Again, his  music says it all:

So here’s some unsolicited advice: should you want to really expand your musical horizons, experience something different and, by way of doing, gain some added insight into your own Highland piping – go to Italy.  Drink a little wine…listen to Italian pipers.  Live la dolce vita - even for a short time.

Salute! M.  

Here’s a bit of video from the archives you might find of interest. It is a little of Bill Livingstone, Bruce Gandy, me and John Walsh (though he features mostly in part two). The film quality is poor but the sound is OK – just.

This from a concert in 1989 at the Queen’s Hall in Edinburgh; a great concert hall adapted from original use as a church. Well, maybe not great for a pipe band, but it did the trick, tiny stage and all.

I believe this is the first time the now well-known “solo tag team” presentation technique was used. The idea was to allow the band time to tune up and take a breather. Contrary to what most might think, it was less about ego and aimed more at pragmatic staging.

There’s a “part two” to follow that includes John Walsh and the finishing quartet. [added July 24, 2007]

Back to the deck …

M.

Two things struck me when I watched this video: first how silly we look as we manfully proceed to the performance area and then promptly turn in, away from the audience (will pipe bands ever change and perform with the audience in mind?) and second, the results.

The “results section” is fascinating. Furtive brows, nervous, silent oath-making, relief, joy all rolled into one.

It was after this rain swept event that I finally ditched the (huge) glasses and went for contact lenses.

So here’s a handy tip: Don’t wear eyeglasses in the rain and think you’ll see the pipe major’s fingers – or anything else.

M.