Cape Breton Performers Do More Than Fiddle Around
By Melissa Warner
Publication: The Irish American Post
Issue Date: Fall-Winter 06/ Vol. 7 Issue 2
Section: Feature Articles
Word Count: 1,991
Kicked out of their homeland in The Clearances, in which the English and their lackey Scottish chieftains displaced real people in favor of sheep, 25,000 Scottish Highlanders settled in Cape Breton between 1775 and 1860. Today, the rugged region of coastal Canada retains an indefatigable Highland spirit through its language and music.
In Gaeldom throughout the 1800s, folks gathered at their ceilidh house for entertainment, hosted by the talented singers who lived there. Other performers, story-tellers and dancers stayed at these houses, then entertained guests after evening chores. These houses protected culture and tradition by passing on tunes, dances, songs and stories. This was a popular form of entertainment when fiddling was at its peak.
In the 1900s, the organ and square dance were introduced to Cape Breton. The addition of the organ increased the demand for piano accompaniment. Square dancing put step dancing sets of two into a four-couple set, replacing any former patterns, becoming the traditional dance of Cape Breton. Contemporary Cape Breton music has deep roots, dating from the 18th and 19th centuries, with one of the most popular performance pieces being Milling Frolic.
The province is home to many talented young musicians, such as fiddler Kimberley Fraser, 24, who grew up in Sydney Mines on the eastern side of Cape Breton. She also has an extensive background in piano and Cape Breton step dancing.
Although her immediate family does not perform, her grandfathers played fiddle, as did his father and grandfather. Fraser was lucky enough to inherit the fiddle her great -great-grandfather played.
She learned to step dance when she was 2 and at age 6, she began piano. By 9, she also learned the fiddle. Now, Fraser practices daily for at least a half hour, whether at home or touring. "I play a variety of gigs ranging from the pub to the studio," she said.
Each gig is like a practice, but Fraser has no preshow rituals, aside from the fact she's usually rushing to get to the stage on time. Although Fraser isn’t affiliated with a single band, she goes on tour about every six weeks with other Cape Breton performers she hires. Fraser travels around the world, particularly catering to fans in Sweden, Denmark, Scotland, the United States and the rest of Canada.
"My favorite places to place are small, acoustic venues and theaters," she said, indicating that each performance site is unique. However, she still finds the Celtic Colours International Festival each year very fulfilling. The date for the 2007 show is Oct. 5-13 at various locales on Cape Breton.
Not a composer, Fraser does not play or record original tunes, saying that she did not have any favorite tunes. "I just enjoy playing traditional Cape Breton music," she said. When not performing, Fraser enjoys running, reading and teaching music.
Fraser explained how she was inspired by Cape Breton fiddler Buddy MacMaster and pianist Tracey Dares, as well as such international fiddling stars as Eileen Ivers and Martin Hayes.
The music is different from Irish Celtic music in many ways, Fraser explained. Most fiddlers from Nova Scotia and Scotland play strathspeys, musical styles not played in Ireland. However, she said, "We have incorporated a lot of Irish repertoire into our music, but played in Cape Breton style."
"Amateur" is the perfect word to describe Andrea Beaton, whose love of music permeates her life. Beaton comes from a long line of musicians on both sides of her family and is the youngest generation of Beatons to perform.
Her father, Kinnon Beaton, is a well-known fiddler in Cape Breton. Her mother, Betty, is a distinguished piano accompanist. Not only are her parents musicians, but her grandparents are as well. Grandfather Donald Angus Beaton is a fiddler and her grandmother, Elizabeth, is a strong pianist. Uncle Buddy MacMaster, is the best known fiddler in Cape Breton and cousin, Natalie MacMaster is also highly regarded on the concert circuit.
"I have always been around music and music people," Beaton said of her heritage. "It's something I never wanted to be away from."
At the age of 13, she took lessons with Stephanie Wills and began fiddling seriously to help overcome homesickness during her studies on Prince Edward Island. By the age of 21, Beaton was booking shows at local dances. Sidelined with a back injury, her father gave her many of his gigs. Being from a musical family her parents have always been very supportive and coached her.
When practicing in her kitchen at home she often turns to her family and friends. "I ask my family and friends if I'm learning the tunes okay," she said.
With this support, Beaton has made a successful career, touring Wisconsin, Pennsylvania and Maine. This summer, she will perform throughout British Columbia.
These jaunts are mostly visits to cultural centers where Beaton plays fiddle and piano with her family, Troy MacGillivray, Alan Dewr and the band Beolch.
Despite all the traveling, Beaton's favorite place to perform is at square dances at home where the adrenaline is high. "I like square dances because I can see the dancers as I play, it's really inspiring," she said, emphazing that’s where her heart is.
Between touring and home gigs, Beaton’s idea of a relaxing evening is enjoying other people's music. "It's a way of being social," she said. "I like to catch up on music and also see my friends and family."
Her first album, License to Drive 'Er, was nominated for the Roots Traditional Solo Artist of the Year at the East Coast Music Awards. Her second, Cuts, was nominated for 2005 instrumental recording of the year, also at the East Coast Music Awards. "The Tap Session" is a live recording that features friend Troy MacGillivray on piano.
Beaton has also produced and appeared on two of her father's albums, Saturday Night Lively and Eoghan Dubh. "I play a few of my own compositions, some of my dad's and other local musicians," she said of the records. "A lot of the tunes come from my grandpa, grandma, cousins and other family members."
"I have no idea where my songs come from, I just start playing," she said of her own compositions. Her songs touch on the heritage of the Mabou Coal Mines, a community whose port was possibly originally named for one of three Beaton brothers who were early settlers there.
"Our music is in the beat," she said. "It's a very different style than Irish. Timing for dance is most important for us. It's similar to Irish, but it's our style. Irish has their style. The Scottish have their style. It all depends on the beat."
To purchase any of Beaton's CDs or check out her tour schedule, visit www.andreabeaton.com.
Troy MacGillivray, 26, is also talented young fiddler and pianist hailing from Cape Breton. He has released three CD's in his career, Eleven,Boomerang and Musical Ties.
Boomerang , released in 2003, is an example of his piano and fiddle talent in purist traditional style, receiving nominations for the East Coast Music and Music Industry Awards. "The title reflects the idea that with all the musical experimentation that goes on, we always have to remember where the traditions come from, sort of a full circle like a boomerang," MacGillivray said.
Musical Ties, released in 2001, is a collection of contemporary and traditional melodies. Some of the pieces are more than 100 years old, MacGillivray said. The title refers to the neckties decorated with keyboards, violins or guitars which his grandmother gave to him to wear at shows.
His third CD, Eleven, comes from a family nickname and is dedicated to his late mother. "Eleven" was the name given to the land his mother's ancestors settled in Nova Scotia when they immigrated from Scotland.
MacGillivray also comes from a long line of musical talent. For generations, the Lanark MacGillivrays and MacDonalds have been an important part of Nova Scotia’s Gaelic tradition.
Hugh A. MacDonald, MacGillivray's grandfather, was named to the Nova Scotia Country Music Hall of Fame for his contribution to Gaelic culture in the province.
His parents are also well-known around the Cape Breton area. His parents, Tony and Janice MacGillivray, often play on stage with him. Kendra MacGillivray, his sister, is a winner of the East Coast Music Award. His other sister, Sabra, is also a dancer and percussionist.
As a yongster, MacGillivray began step dancing and then took fiddle and piano lessons. When he was 7 or 8, he began performing.
"I was part of a step dance class and we began doing concerts. Soon after that I started step dancing in concerts with my sister Kendra, and mother, Janice, on piano," he said.
Being from a musically-inclined family, MacGillivray always has loads of support. Everyone is involved in each other's daily lives, even to babysitting when necessary.
After playing for a few years, MacGillivray taught piano at the Gaelic College of Celtic Arts and Crafts in St. Anne's, Cape Breton, when he was only 13. After high school, he went on to earn a bachelor of arts degree from St. Francis Xavier University.
MacGillivray now teaches workshops and regularly tours, traveling to Europe, the United Kingdom, Japan, Australia, the United States and throughout Canada. Each place is special in its own way, he asserted.
Although he has traveled to many different cities, home remains MacGillivray's favorite place to perform. "I get to jump out of the shower, head into town and play...all in 15 minutes," he laughed.
MacGillivray also enjoys playing in Ireland and Scotland, often accompanying Andrea Beaton and Kimberley Fraser, among others.
"We don't usually tour together, these shows were a special project," he said of a recent Stateside jaunt. "But we all live close by and are good friends."
MacGillivray also tours with his sisters or a crew consisting of Brent Chaisson on guitar and percussion and Allan Dewar on piano. He doesn’t have any preshow rituals but he prefers not to eat prior to a concert and appreciates the chance to warm up.
"If it's been a hard day, I would ask my mom to help me wake up and get through it," he said, adding that she died unexpectedly a year and a half ago.
MacGillivray mostly plays what he calls "old country" materia, such as traditional strathspeys and reels traced back to Scotland. Yet he weaves a few contemporary pieces into his shows for variety. Some are originals.
"Anything could inspire a tune, a good night with friends or a bad day, it just depends on when the melody hits me," he said. "A lot of times it will happen when I am sleeping or waking up."
Daily, MacGillivray practices at home on a grand piano. If on tour, he practices his violin with a mute in hotel rooms. Regardless, he tries to put in a short period of time every day to hone his skills.
His career highlight so far has been performing with his sister, Kendra. "We opened for the Rankin Family in 1998 in Ontario on a football field with 50,000 people in the crowd," he said, recalling every second of the night. It was the best, he said.
When not performing, MacGillivray works on the computer, books gigs and fills out paper work. "I like to go for a drive in the middle of the night maybe, when there is no one on the road," he added, saying, "That's fun." He also enjoys skating and listening to a variety of music.
MacGillivray said he was most influenced by fellow Nova Scotian performers. In his opinion, John Morris Rankin of the Rankin Family is one of the most gifted musicians he’s ever heard andalso enjoys Dave MacIsaac, who hails from Halifax, Nova Scotia. Dave Matthews and Rob Thomas have great musical abilities and ideas, MacGillivray went on, saying, "There is a group from Scotland, Session A9, that is really dynamic. I can't go long without listening to them," he concluded.
