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Are
you ready to settle in for a story? If you know me, you'd better
make yourself comfortable! You may think I'm getting off-track
a few times here, but bear with me… it all turns out in the
end.
ONCE UPON A TIME IN ARKANSAS…
I don't remember a time when music was absent from my mind.
My recording debut, recently discovered in some reel-to-reel
home tapes, included original variations on familiar Christmas
carols (I was three years old at the time). Three years later,
my older brother & I started taking violin and piano lessons,
thanks to our mother's suggestion. Our parents never forced
us into music, though they did impress upon us the significance
of sticking with something once you start. Even though I didn't
always want to practice, I loved the violin and never wanted
to give it up (thank goodness).
I do remember some awkward youthful moments, like when the junior
high "in crowd" would openly snigger at me and my violin case
and corduroy knickers with falling-down knee-high socks. But
this peer rejection was overcome with experiences like playing
in an orchestra with grown-ups, or winning a blue ribbon at
All-State contests. Summer music camp was always a highlight,
making new friends from all over -- I think this is why I love
playing festivals so much. Oh, by the way, this all happened
in Fayetteville, Arkansas… till I moved to K.C. to attend the
music conservatory.
So, I grew up playing classical music, but listening to The
Who, Talking Heads, The Police, and other 70's/80's punk/new
wave groups. I was even in a real garage band for about two
months in high school, though we were limited by my ineptitude
on the borrowed guitar. (But we did have a name -- Everybody
& His Dog -- and handmade T-shirts made by our drummer!) In
college, I was still playing in the orchestra (and listening
to punk & early alternative bands), but realized that quartets
or small ensembles were more fun. I got to play some very cool
contemporary classical music, and in the jazz band too, as I
was one of few violinists/violists at the school who was open
to this particular type of challenge.
I started diversifying further, going to open mike blues jams,
and experimenting with original improvisational compositions,
some of which I performed at art happenings in the late 80's/early
90's. I think it was through one of these art events where I
met a very nice lady who owned a local record store (Anne Winter,
here's to you!). She was getting married… would I play some
music at their wedding? And by the way, how about getting together
with a couple of hand drummers and playing some tunes together
at the reception? That first gig of what would become my first
band, Damawa, consisted of me on violin and two percussionists,
playing anything from "Wild Thing" (really!) to making up stuff
on the spot. I realized then that everything I'd learned about
how to play the instrument, thanks to teachers and mentors,
was coming together in my own style. I think even today, I still
sound like my own self, the self that was discovered during
this time. Oh, and by the way, you had better not call my instrument
a fiddle at that time. I considered that a bad word!
GREAT, BUT WHAT'S THAT GOT TO DO WITH THE WILDERS?
I met Phil Wade ca. 1990. He was such a cool dude, long curly
hair and funky clothes, working at the local world goods store,
and a mutual friend introduced us. Phil was getting into East
Indian ragas, on sitar, drums, and his own interpretations on
guitar. Here I was, ready to play anything on my violin, and
we formed The Dhurries… we played local coffeehouses and every
once in a while at a bar, and we had fun making up our few songs
and mostly instrumental tunes. Our best fans were a local acoustic,
curious original pop-type trio, The Young Johnny Carson Story
(later re-named My Childhood Hero). We were their biggest fans
too and the five of us played together a lot in those days.
One of those guys was Ike Sheldon, whose operatic-trained voice
would not lead anyone to think of country music, at the time…
but things change whether you plan it or not.
Around 1995, Phil started listening to bluegrass music, and
I found myself really liking the smooth sounds of groups like
The Brother Boys and Jody Stecher & Kate Brislin. At the time,
my boss at the art museum, who was always supportive of whatever
musical projects I had going (thanks, Forrest!) lent me three
crucial albums: Doc Watson, Frank Proffitt, and Art Rosenbaum.
Turns out Forrest & Art used to teach painting up in Iowa, where
they both got into old time music. Thus began a major turning
point in my music and my life. Phil started checking out records
of old time music from the library, and it took a little while,
but once this music got under my skin, that was it. I started
reading about fiddlers and string bands, and all of a sudden
I found myself enticed, hooked, caught, captured, captivated…
no point fighting it, I felt like this was the music I just
couldn't live without.
Weird but true: just as Phil & I decided that The Dhurries couldn't
exist any more, due to this new direction and not knowing where
to go with it, our buddy Ike called up and asked if he could
join our band, since he was really getting into country music
and could hear that starting to happen in our new stuff. It's
just that it all happened at the same time. Looking back, it
seems really weird and serendipitous... maybe meant to be? Oh,
and by the way, my violin became a fiddle at this point - which
you may have guessed…
IN CONCLUSION?
I should really just end it there, but anyone who knows me (or
has taken the time to read this lengthy ramble) will understand
I can't just end it there. To wrap up (for now): In the early
days of The Wilders, I learned more about fiddling and traditional
music by traveling to places like Clifftop, Merlefest, and Elkins,
West Virginia, where I learned lots from great teachers including
Suzy Thompson, Brad Leftwich, and Art Stamper. From there I
realized the inherent qualities of old time music must be learned
person-to-person. There are fiddlers I have learned from in
person, but since some of my favorite music was recorded in
the 1920's, I have done the best I can to grasp the style of
favorite fiddlers from the past. As can be heard on our recordings,
sometimes you can hear a bit of that source, but the "Betse
sound" is what it is, and music is such a personal form of expression;
I can't help but put myself into these tunes from the past.
I will forever strive to learn the mysteries of master fiddlers,
living or from the past, and I'm sure I'll never be satisfied
with my own playing. But, in my youthful days, I remember telling
myself (or maybe a good teacher told me): "the more I learn,
the more there is to learn" … and that is the beauty of creative
pursuits.
Speaking of learning… I've learned so much from my bandmates.
I've been fortunate to play music with some of my living heroes
of old time music and I love having those opportunities. But
nothing gives me the joy that I feel when The Wilders are at
our best, experiencing the spirit and energy of this music we
love. I wouldn't trade it and I thank them all for everything
we share together.
Betse Ellis
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