Jeremiah McLane and Timothy Cummings are a high-powered, Vermont-based duo who share music deeply rooted in the traditional dance repertoire of Northern Europe and North America. Wielding an accordion and bagpipes (and often whistles and piano), they create a beguiling blend which utterly subverts the common stereotypes of their Old World instruments. McLane and Cummings —affectionately nicknamed "Wheezer & Squeezer"— draw from a broad repertoire that includes bourrées from Central France, gavottes from Brittany in Northwestern France, dance tunes from the Scottish Border region, and original compositions reflecting North American influences. This rare, captivating duo commands both feet and spirits to dance!
Jeremiah McLane and Timothy Cummings present a rare and masterful Old World blend of traditional dance repertoire from Brittany, central France, and the British Isles, as well as original compositions inspired by dance forms from these regions.
piano accordion, piano
Border pipes, Scottish smallpipes, whistles
Concert at the Walkover Gallery and Concert Room
Sunday, 18 March 2017
8.00pm: concert ($15 advance; $20 day of)
Concert at the Parlor Room
Sunday, 19 March 2017
7.00 p.m. Double-header concert with The Murphy Beds
School workshop and WEEU Radio appearance
Tuesday, 21 March 2017
1.30 - 2.30pm: workshop with students of the Antietam School District
4:30 - 5:00pm: interview and performance on WEEU Radio’s "Good Afternoon Berks Country" show
6:00 - 6:45pm: WEEU audio session and video recording with live audience.
Potluck, concert, workshop/jam
Wednesday, 22 March 2017
5.00 - 6.00pm: potluck meet & greet
6.00 - 7.15pm: house concert ($15)
7.30 - 8.30pm: workshop/jam session ($15, or $25 combined ticket)
Concert and session at the Hamlin Street Diner
Thursday, 23 March 2017
7.00pm: concert (suggested $15 donation)
9.00pm: jam session
Friday, 24 March 2017
6.30pm: social hour (bring food & drink to share)
7.30pm: concert (suggested $15 donation)
Saturday, 25 March 2017
7.30pm: concert ($15)
Workshop and house concert
Sunday, 26 March 2017
4.00 - 5.30pm: workshop on traditional Breton and French music ($15)
5.30pm: complimentary dinner for attendees of both the workshop and concert
7.30pm: concert ($20, or $30 combined ticket)
Concert at the Brandon Music Cafe
Saturday, 22 April 2017
8.00pm: concert ($20)
Bowdoin House Concert
Tuesday, 2 May 2017
5.00pm: jam session
6.00pm: potluck dinner
7.00pm: concert (suggested $20 donation)
Cocnert at Blue
Wednesday, 3 May 2017
7.30pm: concert (no cover, donations welcome)
Concert at the Strafford Town Hall
Friday, 14 July 2017 (Bastille Day / la fête nationale française)
Played throughout the world, both the accordion and bagpipe are found at the center of multiple and diverse genres of traditional music. They also share the simple fact that their sound comes from pressurized air passing through reeds: cane reeds for the bagpipe, and steel reeds for the accordion.
Today’s bagpipe, with its organic materials and old-world craft of reed manipulation, is hardly different from its medieval ancestors —in many ways it is a relic from antiquity. A microtonal instrument freed from the restrictions of equal temperament, it can sound startlingly raw and primeval to the uninitiated. To those who know and love the instrument, the pipes can also be haunting, ethereal, and melancholic. And though it is severely limited in terms of its melodic range and lack of dynamics, the bagpipe nonetheless finds expressiveness in its variations of tone, articulation, and ornamentation.
The piano accordion (a modern cousin of older button accordions) is orchestral at its heart, with two completely separate and unrelated systems of note production —one for each hand. It is fully chromatic, with multiple switches for different combinations of reeds. This might appear to give the accordion greater flexibility over the bagpipe; yet the accordion is limited by a system of chordal accompaniment based on restrictive preset triads (not unlike the autoharp), and lacks the pitch bending capacity of the bagpipe. Thus the accordion’s limitations complement those of the bagpipe.
Jeremiah McLane and Timothy Cummings not only expand beyond the typical boundaries of their instruments and the musical traditions they embrace, they also seamlessly blend the timbres of their instruments. In their hands the accordion and bagpipe also unite harmony, rhythm, melody and texture into an exhilarating whole that is significantly greater than the sum of its parts.
Jeremiah is a composer, accordionist, pianist and teacher with a diverse musical background including blues, jazz, Celtic, Québécois, French and other roots influenced music. In the early 1990s he formed The Clayfoot Strutters and Nightingale, two bands that have helped shape the sound of traditional New England roots music.More about Jeremiah
Tim is a Vermont-based composer and multi-instrumentalist (chiefly a piper) who enjoys an uncommonly diverse repertoire. His music spans from contemporary and sacred music to the traditional melodies of the British Isles, Appalachia, Cape Breton, Brittany, and beyond.More about Tim
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