Tuesday, April 25, 2017

"fiddling" Ole Hanson. Austin, MN

"Fiddling" Ole started off learning the Norwegian tunes of his father and grandfather.  When he wasn't working at the Hormel plant, he was traveling with an orchestra, playing tunes at a contest or repairing old fiddles.  He won the senior division of the MN State Fiddle Association contest.  After he died, his family recorded an album with some of his influences on it.  The article below was originally posted in the Rochester Post-Bulletin.


Monday, April 24, 2017

Gynther Flattum. Lanesboro, MN.

Gynther lived from 1907-2003.   in 1995 the Winona paper reported that he came in second at a Mankato fiddle fest.  They also reported in 1968 he played Decorah's Nordic fest, stating that he represented SE Minnesota and NE Iowa's traditional nordic fiddling.

Bob Bovee told me that he was a nice man and a frequent visitor at the fiddling bee that Bob and Gail used to run in Lanesboro for 20 years.  The article below has great tales of Gynther playing his father's fiddle when his father wasn't looking. Article originally in the Rochester Post-Bulletin:

Wednesday, March 22, 2017

More Stories Of Ed Selvaag



Dave Simpkins had a few stories to share about Ed Selvaag, who was one of the sources for tunes from the first Minnesota Fiddle Tunes Project CD.  The video above was taken when Ed was 101 and playing at church-

"  Ed said he got into music when he went over to the Lindrud farm with his brother to help milk cows.
His brother was using the best part of a beaten up guitar. He asked if he could have it, took it home, fixed it up and learned how to play.

He once said he went to a wedding dance in a small house. It was so crowded that he had to get a ladder and climb through a second story window.  He had to set up on the stairs. While he played, he saw a nice looking gal sitting in the corner who he said he was going to marry. He did and I think they were together some 60 plus years.

He was milking cows near Vining on a cold, storming winter night. A friend who he played with from time to time drove up the driveway to ask if he would fill in at a wedding dance in Pelican Rapids some 60 miles away. Ed said he would if he would help him finish the milking. They drove in a Model T with canvas sides. They had to sneak out of the dance at each break to start the car again and again. They got home in time for the morning milking. "

Monday, March 20, 2017

"My Great Grandfather was a Minnesota Fiddler"

I was playing a show the other night and was told by someone that their great grandfather was a Minnesota fiddler- A hardanger player to boot!  This led to a conversation about the old man back in the day.  Eric Simpkins was kind enough to set me up with his father, Dave, who shared some stories and a wonderful picture-


" Here is a picture of my grandfather Clarence Olson taken when he was 18 year old living on the family farm near Vining, Mn. His uncle Little Knute was a traveling fiddler. He told my grandfather he would give him a very nice fiddle if he would play with him.  Grandpa jumped at the chance. BUT, they would go into a town setting up gigs at local churches and saloons. The uncle would get drunk playing in the saloon and grandpa had to play in the churches.  That wouldn’t have been too bad but they also had to share a bed and the guy had fleas. Grandpa said “da heck with dat” the uncle could play by himself.

When grandpa was learning how to play the fiddle he would climb up the windmill to practice so everyone in the valley could hear him play.

Grandpa’s farm was one of the favorite stops for the music salmon. He had what he called a combo of him and three of his daughters that played in churches and at weddings. My mother remembers them practicing in the living room on cold winter nights or under an oak tree in the summer.

Grandpa’s favorite tunes to play were waltzes. We would listen to the Lawrence Welk Show in the 1960 and he would wave hand or roll his figures or tap his foot to the music. When he was feeling good he’d sing, “Tee yunka tee, yunka tee, yunka tee."

Grandpa played at the Sons of Norway in Vining. He was playing on the edge of the stage when it collapsed and he fell to the floor without loosing the beat. The Vining Sons of Norway Hall is gone now but I know there is one in Lanesboro where there were many dances. "


Sunday, November 6, 2016

Interview with Walter Sigtermans About "Crow River Country" Fiddlers

      Walter Sigtermans was the main researcher for the Minnesota State Fiddle Association’s "Crow River Country" fiddler’s project that was just completed.  This was the culmination of grant work spearheaded by the association’s president, MaryPat Kleven.  Walter gave presentations at each of the three concerts and tune workshops.  I wanted to make sure I caught up with Walter and asked him questions about his research while it was fresh in his mind.  It is a lengthy interview, but has been left intact as this is a under researched subject.


1)  What led you to help out with the Elmo Wick project and go to "Crow River Country" to do more research?

Well, first off, you (interviewer) did. Four years ago you and Annabelle taught a piece called "Old Red Barn" and talked about heirloom fiddle tunes which were passed down from father to son. That was the first time I had attended a Minnesota State Fiddlers Association meeting.  I had learned to play "Old Red Barn" on the fiddle from my grandfather (pictured below). So, you immediately had my attention. Heirloom fiddle tunes are something I can easily relate to. You were talking about what I had experienced, but had never recognized.

Walter's grandfather, Louis Curtis, of Manitoba.
     
My fiddle-playing grandfather operated an organic wheat farm in Alonsa, Manitoba. My dad was a mechanic for Northwest Airlines and we could get airline passes for dirt cheap. I grew up in Hastings, Minnesota but when I was 14 - 17 years old, I flew up to Winnipeg one weekend a month to take violin lessons from Grandpa, and listen to stories from my great grandmother. During the summer I would spend the month of August on the old homestead in Alonsa doing chores and getting violin lessons in the evening.

So, I got an early appreciation of history - through stories and songs. I also had the experience of living and working on a farm during the summers (I was the seasonal labor from south of the border). My great grandmother's quarter section had an old log cabin (built 1902) which still had a wood burning stove, and the farm was like a museum of old farm implements.

I have spent most of my life living and working in Minnesota, yet there are parts of this place, which I call home, that I am completely unfamiliar with. This project gave me an opportunity to learn what it means to be a "Minnesotan."

2)  What was it like talking to the families of these fiddlers?

For me it was really hard. I am an introvert, so the conversation process does not come naturally. There is a certain skill set required to be a good interviewer - and I don't feel that proficient at it.  You need to have an objective, yet be willing to explore the unexpected topics - preferably without long periods of silence.

  The hardest part was making that first contact. In this political season I didn't want to be dismissed or ignored before I could ask my (very specific) questions. I settled on sending a copy of their ancestor's tunes along with a hand written letter a few days before I tried calling them by phone.
       Gordon Jorgenson was great. He knew a lot of family history, and he had really loved his grandfather. I think it tickled him that someone was interested in Olaus, and it tickled him even more that Olaus had his own fiddle tune. Gordon had so much Jorgenson family information I had to keep myself disciplined about what my objectives were.
                
        Both interviews were with non-musical people who had inherited handmade family heirloom instruments. Gordon owns a fiddle his grandfather had made in 1942. Joan owns a hardanger that her great grandfather, Elling Sagedahl, made in the 1890s.  It was a thrill to handle and photograph such treasured works of art.

Pictures of the Wick family on Walter's presentation poster board.

        Yes, if you have enough time and know where to look.  I saw Ole Flolo's house, Olaus Jorgenson's house, the Sagedahl homestead. The granite and timber structures built in Sibley State Park by the VCC in the 1930’s were really impressive.  You can still see the outline of the Broberg log cabin (site of the 1862 massacre) in Monson Lake State Park.  I found the site of the Henschien homestead (and a marker where the farmhouse once stood).        

           Oliver Sagedahl's daughter, Joan, was a different experience. She apologized for not having more pictures of her father's family.  She did not need any forgiveness, least of all from me.  The key information from Joan was the correct spelling of "Morris Chargo."  Elmo had written "Morris Cargo" so I could not find anything about that very colorful character until I talked with Joan. She also provided some much appreciated photographs of her father.


     Ken Amundson was also fun and challenging in his own way. I had so much to ask that I didn't know where to begin. I saw him on a weekend where I had already learned so much that I was already at or near capacity. He was also planning to go on a trip as soon as we finished talking. He had cassette tapes, but no tape player so we sat in his van and listened to them there while it rained. I also liked seeing one of Elmo Wick's fiddles in his shop.

One thing I found helpful after all those interviews was to stop, sit, and write everything down while it was still fresh in my mind. Later I kept going back to those notes as I tried to piece everything together.

3) Did all the fiddlers hang out together and play at joint gatherings?

  Yeah, but I have two answers to this, because I have been looking at two timeframes. There was the period of 1890 - 1940 which was the age of Elmo's youth and the heyday of his mentors.  Second, there was the period of 1970 - 2009 which was the era of nostalgia and old-time music revival.

  I have been more interested in that first time-period and in those mentors who taught Elmo their craft.  During that 1890 - 1940 time frame we are talking about house parties and dances.  Music was not an end in itself - it was there so people could dance.

  Young Elmo was, first and foremost, a dance fiddler.  The fiddle music of that time was much more public.  People were not "specialized" players.  At that time fiddling was not about performance, it was just something everyone did.  Look at that neighborhood map and see how many farmers played these fiddle tunes.  So, yeah, there was that colored pencil sketch from the MNHS of an 1890 Norwegian house dance (see below).  There was also a newspaper clipping which Elmo had amongst his music of a dance at Norway Lake in 1901 (see below).

1890 house dance

          I got a much better appreciation of dances and dance music.  During the most recent August MBOTMA festival I spent a fair amount of time in the dance tent, stepping and moving to the beat.  I think it is pretty cool that the Hardanger Fiddle Association of America  teaches both hardanger fiddle AND Norwegian folk dance.  I may spend more time at the Nisswa Stammen festival next year picking up dance steps.

During that second time-period (1970-2009) it was mostly jams. By that time radio, television and the internet had changed music.  Music was now everywhere... in elevators, dentist offices and on your telephone when you have to wait.  Playing music was now something that was for specialists (professionals).  There were jam sessions like "Little Joe’s Barbershop" in Fargo, ND or "Cliff Hanson's Brooten Barbershop" in Minneapolis, but live amateur music became a private thing, which was not good enough for general consumption.

1901 dance in Norway Lake, MN.

 I guess I saw that played out with my own grandfather.  Grandpa learned to play fiddle on an instrument that his father sent him from England during WWI.  My great-grandfather had been in the Canadian Expeditionary Force and died in Amiens, France in 1918.  So, my grandfather taught himself how to play.  When he moved into the big city of Winnipeg in the 1930s he was viewed as a country hick.  His playing-by-ear anything-goes fiddling was not good enough, so he unlearned everything he had taught himself and started all over again.  He eventually got good enough to play in the Winnipeg orchestra, and could drive his son-in-law (my father) out of the house each time he started playing one of Paganini's caprices, but Grandpa still enjoyed listening to Don Messer.

4)  Is there any remnants of the scene left today?

         I drove past Ole Rime's homestead. The house has since been torn down and replaced with a new home. The barn might still be original though.  I climbed up Mount Tom and later that evening stood on the dock on Lake Andrew, watched the fireflies, and listened to the loons.

         But, I have a full time job, so...  I did not visit the island on Norway Lake where settlers spent the night during the 1862 Dakota Wars.  I never did check out the Wick and Wiig farmhouses.  There were a lot of little old Lutheran churches.  I photographed the outside of a few of them, but I would have liked to look a bit longer.  I never stopped into the cafĂ© in downtown Sunburg.  There are probably a dozen other places which I still don't know about.

5) Who seemed to be the most significant fiddlers and why?

         I was most interested in the older fiddlers who originally mentored young Elmo: Andrew Wick; Edward Wick; Olaus Jorgenson; Gilbert Rime; Otto & Vernie Henschien; Ole Flolo; Haaval Wiig; Elling, Ole, Henry, Edward, Clarence & Oliver Sagedahl; Ole Erickson.  That doesn't mean they were any more significant than:  Cliff Gandrud;  Carl, Harris & Ken Amundson; Herbert & Arlan Erickson; Henry Gafkjen; Reuben Pederson; Ole & Viola Kjeldahl; Cliff Hanson.  These are the people Elmo befriended, or learned about later in life.  The point is that they all played a role in his life's work.  When you drop a pebble into water you never know how far the ripples will extend and what their effects will be.

6)  What did you most learn from your research or your biggest takeaway?

Walter Sigtermans
         I learned a lot about a place I have called home for many years.  I finally got to see the Kensington Runestone at the Runestone museum in Alexandria, visited the Olaf Ohman farm in Kensington, saw the Acton Monument where the Dakota War started, climbed up Inspiration Peak of which Sinclair Lewis wrote (and guilted a few Minnesota governors for not having visited it themselves). I played fiddle in Fort Alexandria during History Live weekend.  But the coolest thing was playing a hardanger fiddle at the HFAA workshop in Dodgeville, WI, whereby I carried out my role in helping to keep an old art form alive.

 So, everybody keep practicing and playing your music because some day, a century or two from now, someone might be researching us.




Monday, October 31, 2016

Elmo Wick Presentation by Minnesota State Fiddle Association

On October 16, the Minnesota State Fiddle Association presented a concert and workshop on the great Minnesota tune collector and fiddler, Elmo Wick. MaryPat Klevin has been steering the association towards learning the tunes of our home state for many years.  MSFA used to be mostly a competitive fiddling organization, but in recent years has shifted the focus to teaching tunes and preserving our state's music.

Learning tunes
Under the tutelage of MaryPat, the MSFA “slojammers” have learned the repertoire from the first MN Fiddle Tunes Project CD. Now MaryPat and friends have done research and learned the tunes of the great Elmo Wick from " Crow River Country", MN.  Elmo was kind enough to leave MSFA a huge vault of his own transcriptions of tunes he learned from this region. That enabled MSFA to publish a book of more than 30 tunes they thought were most representative of the fiddlers from that area of Minnesota.


MaryPat teaching tunes.
  MaryPat has received a grant to do this work from the MN State Arts Board.  As part of this work, she has set up three workshop and concert series at various places in MN.  One session was on October 16th in Bloomington, MN. MaryPat and others taught 14 fiddlers tunes from this collection. The youngest participant was in his early teens and the oldest was in his nineties.   MaryPat is a great teacher of tunes to large groups, and participants were quick to pick up the tunes as she repeated passages, slowly building up speed and confidence.  Folks were eager to learn these tunes, many of which were first played on hardanger before Elmo transferred them to regular fiddle.  They taught a schottische and two waltzes.   The tune book is a great introduction into all of the fiddlers Elmo hung out with in the Crow River Country area.   MaryPat had good suggestions about 1st  position alternatives for the tunes that have harder 3rd position parts.  

          Since there are no recordings or living players who play these tunes, MaryPat talked about the challenges of making the notes come alive off the page.  Elmo’s notes don’t specify the style or bowing patterns for the tunes. There was some discussion about how to bow the tunes, but without Elmo here to instruct, this will have to be left up to interpretation.

          Of course, because it was a Minnesota event, there had to be cake and coffee during the intermission. The event was at a senior citizen home for the ease of long time MSFA member and leader Dan Radford who can’t get around too much anymore.


Walter giving his presentation
       After the workshops were done, Walter Sigtermans did a presentation on his research into the Crow county fiddlers with whom Elmo played.  He had personal tales gleaned from family members and historical societies.  He spoke about how the Norwegians in that county stayed together and kept their tunes alive.  A lot of the tunes in the collection originally came from the Hallingdal area of Norway.
  
Poster board with Elmo and other Crow County fiddlers.
      The concert covered a bunch of tunes from Elmo’s collection.  MaryPat and others from MSFA played the tunes they learned with guitar and bass backup.  Other students from the workshops were invited up to play during the appropriate tunes.  Dan Radford closed out the show by playing a few tunes with the band backing him.  Even though slowed down by a walker, it was great to see that this did not deter his enthusiasm for the music. This was the perfect close to a great day of tune preservation in Minnesota.

Sunday, June 5, 2016

Upper Midwest Tunes Placing Again At State Fiddle Contest

MaryPat Kleven ( president of the MN State Fiddle Association ) finished in second place at the 2015 state fiddle contest in the heritage division.  The heritage division is devoted to equal parts telling stories about a tune and playing a tune.

Mary Pat chose to play a fiddle tune from Leonard Finseth that was featured on the last CD.  She told a great story about Leonard and how she relates to his tunes.  It is wonderful to see Upper Midwest tunes get back into circulation at these events.

Mary Pat playing at the 2015 MN State Fiddle Contest