$12 ($9 senior, youth)
ANNALIVIA is one of latest hip alt-traditional acoustic bands to emerge form the potent Boston fiddle music scene. Their music combines Anglo-Celtic ballad singing and fiddle dance music traditions with North American counterparts in the Southern Appalachians and Cape Breton Island. Their sound is a genuine fusion of closely related musics which also draws on contemporary songwriters, in addition to contributing original instrumentals to an evolving tradition.
The 5-piece acoustic band features the gorgeous voice of Liz Simmons (who has performed with North Cregg, John Whelan, Aoife Clancy, and Karan Casey), champion Cape Breton fiddlers Brendan Carey Block and Emerald Rae, and rounded out by a nationally renown rhythm section of guitarist Flynn Cohen and Stuart Kenney on banjo and upright bass.
Annalivia on MySpace
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Join us for an open-mic evening of entertainment from the local folks. Past Coffeehouses have featured singers, songwriters, hoopists, storytellers, poets, and novelists.
Admission is free if you bring a dessert to share, or otherwise a suggested donation of $5. Coffee and tea are provided.
Want to perform?
Write to us, or call 603-762-0235
Many know him as a Cape Breton-style fiddler who plays regularly at the Monday night contra dance in Nelson, as well as many other dance halls throughout the region. It’s not hard to notice, between tunes, his friendly manner and engaging laughter. But less well-known is that Roger Treat is a master violin, viola, and cello bow maker, trained by Lynn Hannings and George Rubino at UNH, and Rodney Mohr and Jerry Pasewicz at Oberlin College.
On a sunny September day recently I met with Roger in his new workshop, which he built himself. He also makes many of his own bow-making tools. Roger was a carpenter and builder of houses and barns. “I like to create with my hands,” he says. Then he discovered bow making, which “gave me a chance to make something not only beautiful but functional–a bow that plays beautifully.” A Roger Treat bow is truly beautiful: a highly-polished round stick with rich color, delicate yet sturdy turnings in silver and ebony, gracefully hand-carved tip and frog ends, and a wide ribbon of top-grade horsehair which Roger embeds himself. Read more
Imagine that you’re singing with a group of people, and you’re channeling a unique and exquisite harmony. You pause, just to breathe, but you hear your voice continue. You look around and discover the person that will be one of your band mates for the next thirty years. That’s precisely what happened to Kim Wallach when she was spending a year at Wesleyan. It was a case of a Wellesleyan going to Wesleyan. Kim had gone there in part to study under Jean Redpath who was doing a residency there. The synergistic voice she heard belonged to Kate Seeger.
Back at Wellesley College, Kim met Fay Baird, who produced a linoleum engraving for a broadside in an antique printing class (this later became the logo for Kim’s “Black Socks” music label). Their acquaintance was renewed later when Fay walked into a music store where Kim was working. Fay had taken up the banjo and cultivated an interest in Shape Note singing. Their friendship was renewed and they began exploring common musical interests.
Another customer at the store was Lorraine (then Lee) Hammond. Kim didn’t have enough time off to go home to New Jersey for Thanksgiving, so she ended up at Lorraine’s, which proved to be a sort of musician’s center of the universe. The circle that Kim came into was enriching and influential to her musical journey. Read more