About Us.   Well . . .

. . . we grew up in the NY Capital District area, from both sides of the Hudson River, and now live on the remains of a small apple orchard in Charlton, NY -- a cozy little hamlet in southern Saratoga County. You might find us playing at the Charlton General Store or a local tavern, or hanging out on the back deck, jamming with friends. Music is second nature to us. Sitting with friends, noodling with fiddle tunes makes a great afternoon.

Like most musicians, we haven't quit our day jobs -- Jim is a full-time computer programmer. I'm a part-time admin assistant, writer, gardener, and general odd-jobber. The kids are grown and we love our second "job." It brings us joy to see others enjoy what we do.

And -- the much longer version . . . or: "How we got into all this, when we didn't even know what fiddle music was.."

Influenced by family members who either played instruments, sang or taught dance, we both grew into music and songs and learned to play guitar as young teens -- Jim through lessons at a music store, and me, by borrowing my brother's or dad's guitar, reading chord charts, and picking up tunes off records. Jim learned to play drums in high school band (hence his good rhythm) and jammed on guitar with a neighborhood garage band. I attended my school's folk club and wrote songs in my bedroom. Jim grew up with Big Band tap dance and ballroom music, and knew how to "shuffle-ball-change," cha-cha, waltz and tap -- his mom is a dance teacher. I grew up listening to my dad play country music on his guitar (I remember thinking, "I want to do that"). Country radio and an odd assortment of classical, folk, early rock and Hawaiian records were what was heard in my home. I couldn't dance a step.

We met in the early 70's at a local church (who would think that flat tire would bring us together?), and we discovered we had a mutual interest in playing guitar and singing. Within two years, music and friendship became marriage as we played and sang at the church and local Christian coffeehouses. We gave up the coffeehouse circuit when our children were born and job changes moved us around the state a few times. For a while, music took a back seat to raising kids and packing and unpacking boxes. But still, music was always there, if only a get-away on strings.

The start of our Traditional Music life began in the late 80's, when Jim's grandmother's old violin was handed down to us, being that we were the "musical folk" of the family. I signed up for Old-time fiddle lessons when I saw it listed in the paper, just because it was offered not far from where we lived, and it was the only contact I had with anything "fiddle." We had little knowledge of the variety of traditional fiddle music, and I didn't know what style I wanted to learn. I just wanted to try my hand at this new instrument. I could play guitar by ear, how hard could fiddle be? After my first few lessons, my fiddle teacher invited me to attend the first Old Songs Fiddle Sampler, in Guilderland NY. The musicians blew me away. I was hooked. Influenced by their music, I composed two tunes the next day and Jim worked out the chords. A few months later, another job move took us on the road again, away from the lessons and music connections.

We landed in Jamestown, NY, for three years. Took up playing and singing in a local church on Sunday, as usual. Neither Jim nor I had any idea what a traditional jam session was, nor how to find out about the local traditional music scene around us, or that we should try to find such a thing. We'd never heard of a contra dance. I continued to noodle on the fiddle, just because it seemed right to do, and Jim would play guitar to the tunes, but that music was just a hobby for our own enjoyment. The summer I brought the fiddle to our yearly family campout, where music around the campfire was a standard event, my grandfather heard me scratch out a tune. He said that he had a great-uncle who played the "sawbox." I was thrilled! There had been a fiddle in the family! It gave me more determination to learn. (To this day, I have yet to find anyone else who calls a fiddle a "sawbox," though it's a term I grew up with.)

By the time our kids were grown, we'd moved back to the NY capital area in the mid-90's, closer to family. Shortly after getting settled, my sister told us about a local mountain dulcimer festival. We went, out of sheer curiosity, and tried our hand at playing with a few musicians who were jamming in the afternoon after the festival. It was our first real jam and was great fun, even if we didn't know many of the tunes. We were able to find the melody and work through them. We attended the dulcimer group's next monthly meeting, hoping to learn a little mountain dulcimer, and to get to jam again. A woman there noticed my fiddle tucked under my chair, and invited us to a traditional fiddle music jam session called Fiddlers' Tour which was gathering that very night, not far away. We followed her by car, walked into the coffeehouse -- and were amazed! There, circled in a side room, we found a wealth of welcoming musicians, and a ton of fiddle music we'd never heard before (celtic, old-time, and french-canadian contra dance tunes and waltzes) -- as well as several tunes I'd learned. Everyone played together, taking turns picking the tunes, taking it slow if needed, enjoying music for the sheer fun of it. The leader of the session invited us to sit and play, and encouraged my feeble beginner-fiddler attempts. Others shared their music books with Jim so he could follow the chords (I couldn't read a lick). By the end of the night, we'd heard over 25 new tunes, and met just as many new friends. It was a laid-back, welcome-to-the-family kind of experience. We were home! We immediately bought a "Fiddlers Fakebook" for Jim and a tape recorder for me, and kept going back (still going). It was the beginning of our dance band and gigging "career."

Within the first few jam sessions, Paul Rosenberg (the session's leader and local dance caller), asked Jim if he would play rhythm for an upcoming family dance. We drove to that first gig and were quickly indoctrinated into the world of folk and contra dances. The event was slow-paced, with family-friendly, simple dances that had tunes that were easy to pick up on the spot, or that were tunes from the jam session. After that day, Jim became Paul's guitarist for the family dance band, "Tame Rutabaga." I tagged along, still learning.

As a newbie fiddler, I sat in on the side of the band, at dances, picking up bits of tunes by ear as they flew by, and as I got braver and better at it, played along. We attended the jam session every week, and at home, we'd practice the session tune. Since the Tame Rutabaga Band was a "sit-in" band, I eased into playing at the dances as my abilities grew. It was a scary moment when Paul put a microphone in front of me at a dance, and asked me to lead out on a waltz I'd learned at the jam session. "You can do it," he said. His encouragement and trust meant a lot to me. He believed in my ability more than I did. I got through it with a few mistakes. Paul said I did ok, and gave me a few tips on playing for public - "Don't stop playing if you make a mistake. Keep the beat going, no matter what." From then on, I found myself more and more on the mic, gaining confidence, learning the ropes, and a year or so later, became a full member of the band.

That's a dozen years and hundreds of dances ago, and through those experiences, tunes and playing hours, we have ended up in several different bands, formed with fellow jam session members. Though some bands have come and gone, we still play with: Tame Rutabaga, The FireFlies Band, Gordon Creek, Tamarack, and as a duo, TuneFolk.

We still go to the jam sessions when we can. We're still learning, and we couldn't be happier -- well, except for the fact that we became grandparents. It's our hope to pass this music tradition on to our grandson. He's already a musical kid in a musical family. We started by giving him his own tune - Liam's Jig.

If you've read this far, and you're just getting into traditional music, don't give up. Sure it's faster than you can play, right now. Sure others are "better then you." We all start somewhere. You never stop learning. Even if all you want to do is play in private for you own enjoyment, keep at it. Keep reaching. It will come together. I can't say enough about sitting down to play with other musicians, especially those who are better than you. Listen to the music. Feel the beat. Hear where the music is going -- especially if you read music. Paper will give you the tune, but not the little things musicians do with that tune. Get the tune in your head, so that you can hum it, and it will end up on the strings.

Follow the call of music -- find your instrument -- find the joy.

As you can see, we're licensed to play in New York.

We also travel to western MA, VT, and CT, as well as areas south, north and west of Albany/Saratoga region.

About Jamming

How do you locate a jam?

Do a web search for "traditional music jam," "jam session," "contra dance," or "folk festival" -- along with the name of the city/town you live in or are near. (This has led us to various jam sessions when visiting a city.) You just might find someone who knows about a local gathering.

Visit music shops that sell acoustic guitars, fiddles, mandolins, banjos, etc. Check any bulletin board listings or ask store workers if they are aware of any jams (and what sort) in your area.

Farmer's markets are also a good spot, if there are musicians booked to sing/play.

When you find a jam:

Be sure the jam style fits your interest. If you are strictly bluegrass-minded, and that's all you want to do, don't sit in on an Irish jam unless you are wanting to play/learn Irish music. Respect that the jammers are playing "their" music, and you are joining them. If you play rhythm, they'll love you for it.

If you're a beginner, play softly until you can comfortably play the tune (yes, off-rhythm and off-notes can affect the guy/gal next to you). Bring a recording device and ask if it's ok to record so you can practice later on. If you already play and are a strong musician, don't overplay the group. Jams are a group effort.

Too hard? Keep Trying

Even if you miss half the notes, or can't keep up to speed, if you quit, you'll never get there. Put that bow or pick on the strings and work at it. It is work, at first. You'll get there. Record the sessions, then run the music through software that can slow down the music without affecting the pitch. This way, you can have the tune at your speed, and pick up the things you miss. ("Amazing slow-downer" works well, as does "Audacity" software.)

Listen, Listen, Listen!

And again - Listen! Play tunes you want to learn over and over, as you drive, as you walk, as you do dishes, etc. Get the tune into your brain. Then start working on it, a little at a time. Once you know where the tune is headed, it's easier to learn to play it, whether you sight read or play by ear. Which brings up . . .

Read or Play by Ear?

If you read music and attend a jam where there are no music stands present, ask if it's ok to use a book. Some jams are by ear only, and prefer it that way (they don't want to wait for someone to find the music page, and often don't announce what tune is being played, they just go into it). Some jams don't mind at all, but may not wait for you to find the music before they play. Others may be more accommodating and wait for you.

Which is better? Both are great to do - and one is not better than the other. Ear ability allows you to pick up things on the fly, even if you've never heard the tune before, and no books/stands are needed. Reading music allows you to play a tune almost immediately without first hearing it (depending on your ability to read cold), but won't teach you the subtle changes and stylistic things that musicians do with a tune. For that, you have to listen and apply what you hear. Note: written music is a "guide" not the law. And tune variations abound. There is no "right" way to play a traditional tune. Embrace the difference, and learn the variations. You'll be able to blend with others much easier.

Tune, Tune, Tune!

Ok, an instrument that is not in tune is not "good enough for folk music." It's out of tune. Period. And sounds it. Which can throw off someone next to you. Whether you tune by ear (go to a quiet spot to hear your instrument if need be)... or use an electronic tuner, it doesn't matter. Keep in mind that plucking a fiddle string will be a little different from bowing the string.

Most of all - Have Fun!

It's all about learning and passing on this wonderful tradition. Jams are just that. They are not performances. They are not perfect. Sometimes, things click and it's a magical experience, other times, it's work. Either way, it's music, and you are a part of a long tradition. Keep the music flowing. Pass it on.