![]() One of the strengths of this recording is the opportunity to hear from a variety of fiddlers (Brenda Stubbert, Jackie Dunn MacIsaac, Kinnon Beaton, Jerry Holland, Buddy MacMaster, and Wendy MacIsaac) and accompanists (pianists Richard Wood, Wendy MacIsaac, Betty Beaton, Allan Dewar, Joey Beaton, Jackie Dunn MacIsaac, and guitarist Brian Doyle), who present a variety of tunes and styles, representing various musical lineages, from different parts of the Island. ![]() A small criticism - I wish Feintuch had included a map locating the different events to help readers understand the physical relationship between the various locales. The recordings represent seven different events: the Ceilidh Trail School concert, Port Hood Arena dance, Mabou Hall dance, Broad Cove Scottish concert, Glencoe Mills dance, Mabou Hall ceilidh, and Brook Village Hall dance. Finally, the notes for each track conclude with a detailed description of the context of the event, and hence the recording. They inevitably include dotted rhythms.” (17), making this recording friendly for newcomers to Cape Breton fiddle music. Feintuch also provides descriptions of various tune genres (strathspey, jig, reel), for example, “Strathspeys are generally in 4/4 time. Just finding names for many of these tunes is no small task in this he was helped by Cape Breton fiddle scholar Kate Dunlay, who Feintuch acknowledges. He identifies their composers where possible, and in what collections they may be found. For the tunes themselves, he discusses alternate names and the significance of some of the names to the Cape Breton fiddle tradition. First, he provides some introductory biographical information about the musicians, both fiddlers and back-up musicians, focusing on musical lineages and influences, particularly of family, and referring the reader to websites for follow-up reading. Feintuch’s notes for each track are extensive.
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