Phil R. Jack Pa. T:Bully for You. Wayne W. It was also in the repertoire of fiddler Tommy Magness , born in north Georgia near the southeastern Tennessee border. Louis was a bully who had been arrested and tried on three separate occasions on assault and battery charges, and who at the time of the murder was wanted by the constable for yet another brutal beating, that of an elderly black man near his place of work. Louis reportedly became enraged at the thought that she might be fond of another man whether Willie or not.
One night, after a day spent recreating, dining and drinking, they returned late to the bordello in which she was staying and, feeling the effects of their partying, retired at around AM. Louis disappeared, and soon a deputy arrived followed by an ambulance; but too late, for Ella had been shot through the breast with the bullet piecing her heart, left lung and liver, from which wounds she soon bleed to death. A manhunt was raised to find Louis, who after a day turned himself in at the residence of a police Captain.
He was arrested, held and charged with murder. Ferguson originally from Massachusetts sentenced him to twenty years in prison, which Garst says was a stiff sentence for the time. Irish, Reel. Composed by fiddler and pianist Josephine Keegan b.
Keegan The Keegan Tunes , ; pg. USA ; Kentucky , Indianna. The coarse part is supposed to imitate a bee trapped in a jug. John Hartford traces the tune through successive fiddlers. Source for notated version: Joel Shimberg [Phillips]. Songer Portland Collection , ; pg. USA ; Pennsylvania , Vermont. The tune was printed by S.
Stewart Phila. Stewart was a music publisher as well as a banjo manufacturer. Bayard finds no particular antecedents from the British Isles or Europe , and believes it may be an American composition that perhaps derived from Irish tradition; at any rate he says it was a great favorite with Pennslvania fiddlers. Some versions of "Bummer's Reel," though many American variants have considerable differences, are similar to the American tune " Peaches and Cream. Christeson , pg. Sources for notated versions: Harvey Thompson Pa.
Bayard Hill Country Tunes , ; No. Phillips Traditional American Fiddle Tunes , ; pg. Old-Time, Breakdown. Library of Congress L, Elmer Barton. A morris dance tune from Ilmington, Warwickshire, named after a fiddler, Old Bumpas, from the nearby village of Stretton.
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Roche Collection , ; Vol. III, pg. Composed by blind Irish harper Turlough O'Carolan Though not often added, a coma should appear in the title after the first word rendering the title's meaning a cup filled to the brim in toast to Squire Jones 'bumpers'. The term bumper has been traced to two sources, both doubtful, says Hawkwood One drinks a bumper at one draught and is expected to turn it upside down to show that it has been enthusiastically empitied of is contents. Thus the song belongs in the group of O'Carolan's bacchanalian compositions, for which he was justly famous, though the English paraphrase of the original Gaelic was not written until when it was rendered by Arthur Dawson, Baron of the Exchequer.
In fact, O'Carolan composed the song prior to October, , according to an entry in the diary of young Charles O'Conor, a harp pupil of the bards, who wrote: "Wednesday, 8 th.
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I got Squire Jones from him today, and no thanks to him for that. O'Sullivan does conclude that the English lyrics were penned by Dawson and that they are far superior to O'Carolan's "indifferent" Irish lyric. Lee and in The Hibernian Muse c. Leitrim, and not, as Bunting asserts, Mr. Jones of Moneygalss, Co. There are two versions of what happened next, and either a man named Moore or one Baron Dawson, overheard the harper composing in private in his rooms.
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In none of the above was a composer or author credited. A reference to the song is made in Smollett's novel Peregrine Pickle Ye good fellows all, Who love to be told where there's claret good store, Attend to the call of one who's ne'er frighted, But greatly delighted with six bottles more!
Be sure yell don't pass the good house Monyglass, Which the jolly red god so peculiarly owns. Baron Dawson. O'Neill Krassen , ; pg. C:Turlough O'Carolan. S:by Donal O'Sullivan. Z:transcribed by Paul de Grae. Collected from musicians in the village of Ilmington , Warwickshire , England. Bacon notes the tune was probably used for a 'morris on' or for a different set dance. Bacon The Morris Ring , ; pg. Philippe Varlet suspects the tune may have been composed by McCormick.
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AKA and see " Inimitable Reel. USA , Indiana. Source for notated version: John Summers Indiana [Phillips]. Rounder , John W. E Minor. T:Bunch of Currents . K:E Minor.
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D Mixolydian. T:Bunch of Green Rushes, The . AKA and see " The Hawthorn . T:Bunch of Haws, The. One part. Holly is prominent in winter folk traditions of the British Isles , where it was thought that a bunch of holly hung in the cowshed at Yuletide would bring luck for the coming year. On St. Stephens day in Ireland , wren-boys would attach a bunch of holly to a pole along with a dead wren to go collecting from house to house.
Howe Jigs and Reels , c.
The title refers to door keys, or, as Paul de Grae suggests, it may refer to the winged seeds called keys of the ash tree fabled in Irish folklore , which hang in bunches before dropping. Cranitch Irish Fiddle Book , ; No. Originally recorded Learned from a session tape of east Clare fiddler Paddy Canny. T:Bunch of Keys, The. T:Flowers of Limerick , The.
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S:Sean Ryan, fiddle Chris Delaney collection. Z:Transcribed by Paul de Grae. A Mixolydian A. AEae, ADae, or Standard tunings. Learned by Mt.
Airy, N. Well, we'd go on the high part twice, y'know, but we played the low part a long time 'fore we'd go to the high part. We'd just keep playin' the low part til one of us wanted to change an' them we'd punch a knee. We'd sit facing each other with our knees together.
An then if I took a notion to go on the high part, all I had to do is bump knees , an' if he did, why, he'd do the same thing to me.
An' we knowed exactly what the other one was gonna do thataway. In place of raising the fiddle up, that's what we'd do, y'know. Course when Lawrence Lowe got to playing with us, we couldn't do that, we had to raise my fiddle up when we'd go to go on the high part.
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