#cornish music

[kowalskishish]

Not done one of these for a while. A little instrumental written & recorded on today's Bank Holiday day off. I've called it 'Almost June' because how the hell are you supposed to name instrumentals anyway?

#almostjune #instrumental #homerecording #slideguitar #resonator #resonatorguitar #guitar #acousticguitar #cornishmusic #cornwall #kernow #bankholiday

[millenari]

Cats parody on Last Week Tonight with John Oliver. Featuring these people:

[distantobserver0]

Album cover for folk artist Daisy Rickman's debut 2022 album, Donsya A'n Loryow, which she painted herself.

[storyweaverofgondor]

[haveyouheardthisband]

[aeolianblues]

🎵 SONG-TO-GO 🎵

Hi hello I've been out and about and travelling the last two weeks and I've been bad about posting Songs To Go, haven't I? I'll try and make good on this week, maybe also throwing in a few bands I've come across on my travels across the UK and Canada :)

Anyway, if you're new, Song-To-Go is a weekly song poll released every Friday where I present you with new, lesser-known songs to listen to while you scroll.

As always, choose songs based on the 30-second Spotify snippets if you don’t know them (and I try to make sure there’s always something you won’t know). If you like what you hear, go listen to the full songs, they’re yours to carry along on your scroll!

[latest poll, playlist of everything so far (in order) and other/future picks]

This week’s picks are pretty much bands I’ve seen and heard round town: I saw Gwenno’s mural at Clwb Ifor Bach in Cardiff, and if you don’t know her (then this post is for you, isn’t it?), she’s a cool Welsh and Cornish indie/rock/synthpop musician and producer, used to be in the girl group The Pipettes in the 00s, and this song Anima is from her 2022 album Tresor, the first Cornish language album to be nominated for the Mercury Prize.

There’s one Mercury Prize winner here, English Teacher, who (at the time of scheduling this post) I’m seeing tonight and am sure I’ll sob at this song. Yorkshire poetry post punk that couldn’t come from anywhere else in the country, if you don’t know them.

I’ve also got a Birmingham synth punk duo whose show I walked into opposite the Clwb whilst we waited for the venue to open, and who wrote a very amusing post punk piece on the Homes Under The Hammer presenter of the same name. Another post punk duo from New Zealand who are friends of a good friend of mine from there, who remind me of the 80s greats! Then I’ve got some cool Canadian RnB-jazz from Alberta.

Picture evidence of all this under the cut ;) Tell me what you enjoyed, reblog to pass it on, and hopefully I’ll be more regular from next week. Happy listening!

[redalertriker]

hello lovely tumblr users, I am here to ask that you take a moment of your time to look at this petition!

The petition describes the situation much better than I can, but some added info from someone who is seeing this happen in real time is that the administration of the college I attend is effectively firing up to 8 interim faculty members as we speak.

For a college this small, that is an unbelievable amount of faculty to lose. The majority of the interim faculty members that are at risk or have already lost their jobs devoted an unprecedented amount of physical and emotional labor towards making the college run during the pandemic, and for many that meant they were signed on for an extra two years than normal in order to help our college stay on its feet.

It is typical for interim (hence the name) faculty to only be with the college for a short time, but due to outstanding circumstances (the pandemic) they have become quite literally pillars of their respective departments, and of those I personally know and work with, the heart and soul of the college.

Losing them would destroy the stability of our school, and our school is making it unusually hard for these faculty members to reapply as either part-time faculty members or full-time core faculty members.

This all comes down to the fact that our administration has stated that they believe the individuals teaching the class do not make a difference in the students quality of education, only the curriculum.

Anyone on here who has had a bad professor, or a really truly good one, knows that is entirely, unequivocally, undeniably, not true.

The administration states that this was a "financial decision" (mind you our college is in the top 10 most expensive colleges in the state) and it is blatantly obvious they want to hire new part-time faculty members simply because it is cheaper to do so.

It may save money to fire the interim faculty now in the short run, but the loss of these faculty members that are now considerably less likely to be rehired will end up costing the college more money in the long run due to the instability caused by this decision.

So, I humbly ask, for the sake of my education and that of hundreds of other wonderful artists, please sign this petition and show our administration that you can't just treat educators like shit and get away with it.

[quatregats]

This whole album is so so good

[fernandomagicalonsomanydances]

The Young Rascals really did tell us all the way back in 1966 to go outside and touch some grass... Or at least some leaves

[macmanx]

Redman presents cuts from his latest album, Where Are We, a medication on the complexities of America, featuring new collaborator vocalist Gabrielle Cavassa. In "Chicago Blues," Redman's take on a Count Basie classic, and a cover of Bruce Springsteen's "Streets of Philadelphia," Cavassa and Redman dance over the anchoring grooves from bassist Philip Norris and drummer Nazir Ebo, while pianist Paul Cornish delivers a stunning improvised transition between the two songs. For the final selection, Redman opens with an improvisation on "America the Beautiful." The traditional, patriotic tune is a stark contrast to the ugly inspiration for the plaintive "After Minneapolis" that follows, about the murder of George Floyd by a Minneapolis police officer. The song's growing maelstrom surrounds Redman's haunting wails and Cavassa's mournful interpretation of Redman's lyrics. Throughout, Redman's solos serve to illustrate why he is one of today's best saxophonists.

[weberlifedesign]

Felix Cavaliere Relays Rascal Energy Voicing Joy & Peace

Felix Cavaliere exerts an energetic appeal that has not waned since The Rascals, then known as The Young Rascals, first made an impact on the music scene in 1965 with “I Ain’t Gonna Eat Out My Heart Anymore” followed by “Good Lovin’.” Expressing peace, love, and happiness, the music has had a broad attraction for all ages. Image Courtesy of Felix Cavaliere via Dis Company With his most recent…

[myvinylplaylist]

The Young Rascals: Groovin' (1967)

Cover Illustration by Lynn Rubin

Album is dedicated to the memory of Mike Owen

Atlantic Records

[opera-ghosts]

Fanny Moody – The Cornish Nightingale

Dame Fanny Moody (1864-1945) of Redruth was known as ‘The Cornish Nightingale’. Her father could, it was said, play any instrument he had ever seen. Her mother was a pianist, and their large family were exceptionally musical, in particular the daughters Fanny (Francis), Lily (1867-1950), Mabel (1874-1952) and Hilda (1876-1961). Newspaper reports show that all the sisters performed locally as young women. Fanny went on to become one of the great singing stars of her age. Hilda joined the D’Oyly Carte Opera Company in 1896, and later toured with her elder sister’s opera company. Lily, mezzo soprano, sang with J. W. Turner’s English Opera Company (1887-1902).

Fanny, allegedly seen dancing on a shop counter when young, became a pupil of Robert Heath of Redruth. Her first reported performance was in Ponsanooth on 26 March 1879 at the age of 14.  Later that year Fanny’s mother died and her father was left with seven children. Nevertheless, in the winter of 1879/80, Fanny performed over a dozen concerts, mostly in Redruth, but also in Penzance and Falmouth. This intensive pattern was repeated in the next two winters, during which she built a large local following.

Her talent was recognized by Lady Mary Basset of Tehidy, who in late 1881 paid for her to train in London at the Vocal Academy of the renowned Mme. C. H. Sainton-Dolby. Fanny made her London début at the Steinway Hall, Seymour Street in June 1883. In April 1884, with other students, she gave a concert in Newcastle. All was loyally reported in Cornish newspapers.

In Newcastle she was heard by Charles Hallé, who offered her a series of return bookings.  Through these she met Carl Rosa, manager of a prestigious opera company, and when asked by him to sing a ‘top C’ she gave him a ‘top D’. She made her début with the Carl Rosa Company in Liverpool on 15 January 1887, in The Bohemian Girl.  Later that year Fanny’s father James died, but having seen three of his daughters on their way to operatic success.  In 1889 Fanny, her fiancé, the noted bass, Charles Manners, and her sister Lily made a triumphant return to The Druid’s Hall, Redruth.  The packed event was a both a celebration of Fanny’s success and of her Cornish roots.

In 1892 Charles Manners and Fanny were married. Fanny went from success to success as an operatic soprano. In 1892 she and her sister Lily sang in the first English performance of Tchaikovsky’s Yevgeny Onegin. Fanny sang many roles, including Wagner, but she was most suited to those like Cio-Cio-san, the tragic heroine of Puccini’s Madam Butterfly. Later, she and her husband formed the Moody-Manners Opera Company which operated from 1898 to 1916.

Most of Fanny’s performing life was spent touring Britain but she also travelled abroad, notably to North America and South Africa. There in 1897, after a concert, expatriot Cornish admirers followed her back to her hotel. A newspaper reported ‘There was an assemblage of enthusiastic but strangely silent and peaceful Cornishmen; this congregation of robust Romeos waited for their Juliet to appear upon the balcony…To the silent she sang Cornish songs. And as she sang, these big men of Cornwall wept.’ She was presented with a tiara with the Cornish coat of arms picked out in diamonds, which was donated for auction in the Second World War with the proceeds going to the Red Cross.

Although she travelled the world Fanny was still seen as a ‘Cornish maid’ and regularly reported in a positive, almost avuncular way by Cornish papers. Her reputation, repertoire and audience were international, but her identity was Cornish, and her success, and that of  Lily and Hilda, grew from the Cornish musical environment.

Laura Alex Smith published an interview with Fanny Moody in the Cornish Magazine in 1898 which provides an insight into the singer and her world.

[dracolizardlars]

this is unbelievably niche and will never ever be relevant to probably anyone reading this but here's some life advice: never try translating Cornish-language phrases. accept that you will never know what it means. otherwise there is only frustration awaiting you

[andypiper]

Henry Found the Time

I'm excited that the new Alex Cornish album dropped on Bandcamp today! #Blaugust2024 #100DaysToOffload #NewMusicAlert