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6
January 18, 1996
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The members of Bungle Rye i ‘ e >
are, from left to right: Gavin Winshi inshi
ght: Gavin Winship, Candy Winship and Mike Faulkner.
Pocketftul of
By Rhonda Jones ‘
AUGUSTA FOCUS Staff Writer
Most Tuesday nights Mike
Faulkner canbe found at the King
George Pub on Reynolds street,
propping up hisinstrumentsinan
L-shaped boothnear the bar. Last
night, he swore this took a great
amount of skill as hetried tofinish
setting up his. things before his
partners arrived. But Gavin and
Candy Winship soon hurried in
with their load, and before long
there was quite an assortment of
fiddles, banjos, guitars, flutes and
things I've quite forgotten how to
pronounce.
“They always want to fall
down,” Gavin mumbled while
trying to convince his guitar and
bouzouki to stay upright against
the table. The bouzouki (pro
nounced “bazooky”), he said lat
er, is a Greek instrument that,
thelrish decided to adopt. Itlooks,
sort of like a cross between a
guitar and a gourd, with high
pitched notes, like those of a
mandolin.
The trio who became Bungle
Rye met, strangely enough, on
Saint Patrick’s Day 1993. Their
name is “one of the many” Irish
expressions for illicit whiskey.
The songs they play, many of
them, are Celtic, which means
that they are traditional Scot
tish and Irish folk songs, the kind
that gave birth to Blue Grass.
But this music is old, and con
jures images of distant green
hills, the voices of ancient peo
ples and the life-preserving
warmth of a campfire.
At least some of it does. “And
we’ll all go together/ To pick wild
mountain thyme, all around the
blooming heather,” crooned the
men in a beautiful piece that
allows them to harmonize. Next
thing you knew, they were sing
ing a dance song about an
Irishman’s heaven, “where the
girls are all pretty and the beers
are all free,” before veering off on
“Isl Only Had a Brain.” Well, it’s
not all about rolling hills and
Celtic nationalism.
They don’t separate themselves
from their audience by climbing
onto a stage, but sit around a
table, jamming, socializing. It’s
all very friendly and warm.
“I got homesick I guess,” Gavin
said when asked why they had
chosen this type of music. He’s
from a “little town” called
Wittongilbert — which he had to
spell very slowly — in the north
east of England. He and Candy,
who are married, have been to-
AUGUSTA FOCUS
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gether much longer than three
years. They met “Sometime in
the ’'Bos,” he said. “I cannot re
member exactly when. In Texas
of all places.”
Candy is from the Dallas area.
Mike, who is from Augusta,
calls the music more immediate.
“Because it’s somucholder ... it’s
not created by Madison Avenue
for one thing, and it’s not created
by computers for another thing.”
“There’s a lot of history in the
music as well,” said Gavin, tun
ing his guitar. He ran a finger
along one of the strings, causing
Mike to remark that it sounded
like a jet take-off.
They told me of some of the
authors of the now-traditional
songs, like a blind Irish harper
named Turlough O’Carolan, a
traveling musician from ancient
times who fathered thousands of
Photo: Derick Wells
tunes. And of an exiled High
lander who fought against the
American colonists and wrote
songs out of homesickness. One
was a lullaby to his wife and
children, and spoke of how out
of-place he felt where noonewore
the kilt or spoke Gaelic. He died
in an American prison.
Between the band’s prelimi
nary plucks and toots, Gavinand
Candy explained to me about
haggis, a Scottish stuffing made
with sheep organs mixed all
around with spices and barley,
and cooked in the animal’s stom
ach. It was originally the food of
the poor, but is now a delicacy
because it’s hard to get.
“I think it tastes like turkey
stuffing ... really good turkey
stuffing,” Candy said. “You don’t
tastethelungandsay, ‘Oh, that’s
alung.’ You taste the barley and
art « music » literature - theatre
spices.”
And on that note, they began
with a tune they call “The Hic
cups Song,” which is the three of
them playing their instruments
and hiccuping very loudly at the
appropriate parts as if they were
full of beer. The evening had be
gun.
Candy, who started with the
piano at age five, has only been
playing the violin for four years,
butinher handsitsings. “Inever
thought I'd like the violin,” she
said, “because mybrether played
the violin.” But when she tried it
she couldn’t put it down. The
difference between a violinand a
fiddle, she explained, is the
bridge, or the piece that holds
the strings up off the face of the
instrument. The bridge of a fid
dleisflatter, shesaid, and thatis
where a fiddler draws the bow
for a sharper, screechier sound.
A violinist plays closer to the
fingerboard, or neck of the in
strument, for a more mellow
sound. Depending on the nature
of the song, Candy is likely to go
either way.
The song “Ten-Penny Bit”
(“Like a dime,” she said) begins
with her quick fiddling. It’s a
happy, danceable, runnin’-
through-the-woods tune. On his
father’sknee, alittle boy of about
four sat bolt upright, watching
with fascinated, gleaming eyes,
before his father took him back
to their table. He looked back
over his shoulder as they went.
Thetrio said they are hoping to
record a CD one day, but they
spent much of their money on a
recent trip to Ireland. “You could
see the faeries and there were
shamrocks growing everywhere,”
Candy said, insisting that they
would have to write a tune for
oneofthe green-and-yellow plac
es they visited. She had a photo
graph, in which she, Gavin and
Mike had posed near a stone slab
structure, atop grass that looks
soft enough to sleep on. Yellow
flowers paint the background
and, in the distance, cold blue
water blends with the sky. Inthe
dim light of the pub it was beau
tiful. In daylight, I can almost
feel the cool breeze that made
them pose with jackets on.
King George patrons paused
by the trio’s table on their way in
and out, as they do every week,
smiling, tapping their feet. The
little boy from before waved and
said “Bye” on his way out with
his parents.
H See BUNGLE on page 16
Importance of African-American
rituals stressed in art exhibition
Discovering in traditional Af
rican-American rituals a source
of strength to confront disinte
gration of American’s social fab
ric was the theme of an exhibi
tion, Reaffirming Rites: Artwork
by Phoebe Beasley, held recently
atthe M. Hanks Galleryin Santa
Monica, CA. ;
World renowned collagist
Phebe Beasley illustrates subtle
and obvious African-American
rituals of the past because she
believes that they have provided
a secure and nurturing environ
ment within which people could
develop and grow. Furthermore,
she thinks they are relevant to
manyoftoday’s most vexing prob
lems. ' Sadly, those positive ritu
als have been replaced by nega
tive and destructive ones,
Beasley believes, which are at
least partially responsible for the
growing crime rate among our
youth, teen pregnancy, and soar
ing school dropout rates. Reaf
firming and adopting what has
worked in the past, Beasley main
tains, can help improve the cur
rent situation and make Ameri
can stronger and better.
One work from the exhibition,
Georgia Arts ‘96 to be held in
summer at Morris Brown
Georgia Artists Network in
vites all Georgia visual artists to
request a prospectus for their
Juried exhibit, Georgia Arts ‘96,
which will be held in June, July
and August of 1996. This special
exhibit will be housed in the new
lyrenovated art gallery at Jordon
Hall on Morris Brown campus.
Visual artists are welcome to
submit three slides for jurying in
the following categories: paint
ing, pastel, drawing,
printmaking, photography,
mixed media, sculpture, video,
computer, and fine crafts includ
ing ceramics, fiber, wood and
glass. Slide entry deadline is
January 26, 1996.
Nationally-known jurors for
the exhibitinclude Michael Mon
roe, curator of the Renwick Gal
Augusta area artists exhibits
# ¢93§»i“ ;}; §% £< fgfi / %5;
Augusta Regional Medical
Center, 3651 Wheeler Road; wa
tercolor and oil paintings by
Arleigh Mansfield through Feb
ruary. Free.
Cellular One, 3241-C Wash
ington Road; watercolor and oil
paintings by Eva Thompson
through February. Free.
Columbia County Chamber of
Commerce, 4424 Evans to Locks
Road, Evans, GA; watercolor
paintings by Ingrid Hofer
through February. Free.
Columbia County Office Build
ing, Evans Government Com
plex, 630 Washington West Road,
Evans, GA; oil paintings by Jen
Name the instrument played
by each of the following.
Vi Z
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a collage entitled Holding Court,
shows an elderly woman seated
in her living room. This piece
embodies an overarching princi
ple which is an element of many
of the traditional African-Amer
ican rituals, respect for our el
ders. :
“Nowadays, we’ve become so
‘me’ oriented that we're too dis
missive of things from the past,”
Beasley says. “But we ought to
respect members of the older
generation because they have a
lot to offer, and we should listen
to and learn from them.”
Beasley is the only artist to
have received the Presidential
Seal twice when she was com
missioned to do the artwork for
theinaugurations of both George
Bush and Bill Clinton. Her work
is also featured in many presti
gious private and corporate col
lections.
The M. Hanks Gallery is one of
the country’s leading specialists
in African-American art. For
information about publications
and reproductions, write to M.
Hanks Gallery, 3008 Main Street,
Santa Monica, CA 90405, or
phone (310) 392-8820.
lery, Smithsonian Museum for
American Crafts; Shirley
Woodson, supervisor of fine art
ofthe Detroit Public Schools; and
Rene Barilleaux, director of ex
hibitions and collections/chief
curator at the Mississippi Muse
um of Art. Cash awards totaling
SIO,OOO will be presented includ
ing Ist prize of $3,000; 2nd prize,
$2,000; 3rd prize of SI,OOO and
10 merit awards. :
This prestigious show will be
open to the public from June 15
to August 31, 1996. The patron
preview reception and awards
presentation will be on June 7,
1996.
Artists interested in obtaining
a prospectus may write to Geor
gia Artists Network, P. O. Box
7832, Atlanta, GA 30357-1832.
ny MacDonald Johnson through
February. Free.
Georgia Bank and Trust, 3530
Wheeler Road; watercolor paint
ings by Cheryl Riner Hodge
through February. Free.
Metro Augusta Chamber of
Commerce, 600 Broad Street Pla
za; photography by Rosanne
Stutts through February. Free.
Meybohm Realty, 646 North
Belair Road; oil paintings by Betty
EubanksthroughFebruary. Free.
Sacred Heart Cultural Center,
1301 Greene Street; watercolor
paintings by Frankie Paulus
through February. Free.
St. Joseph Hospital, 2260
Wrightsboro Road; drawings and
paintings by Lynn Lonsdale
through February. Free.
University Hospital, Profes
sional Office Building 11, 818 St.
Sebastian Way; oil paintings by
Karen Perdue-Davis through
February. Free.
1. J.C. Higginbotham
2. John Lewis
3. Jack Sheldon
4. Bobby Brookmeyer
5. Shirley Scott
6. Gil Evans
7. Henry Johnson
8. Chet'Baker
9. Tim Sanders
10. Wayne Hoey
11. Rufus Reid
12. James Mclntyre
13. Fabio Mann
14. Curtis Fuller
15. Bill Jennings
16. J.J. Johnson
17. Gunther Schuller
18. Wayne King
19. Chuck Israels
20. Jimmy Heath
answers on page 14
