(J. Crawford, 2005)
David Rogosin: piano

I spend many hours driving on the High Marsh Road, or walking and thinking on the Tantramar Marsh. I love the openness, the wind, the solitude. This song is the ‘marsh’ to me. Payne’s Grey is an artist’s colour which can be mixed to give the soft overcast clouds as well as the intense storm clouds we frequently see in the sky over the Tantramar Marsh.

Thirteen black crows perched on fence poles
barbed wire long gone nothing left to hold
The crows all face east looking for what – who knows
Maybe there’s a coming or a going to be told.
And the warm winds fly – under a Payne’s Grey sky
And the warm winds fly – under a Payne’s Grey sky

Who said long ago many days would come and go
wind blown, sea grass (you know there’s) nothin’ left to hold
when the tides turn when the snow falls
All that’s left is the sound when the crow calls
Grasses roll as oceans lie – under a Payne’s Grey sky
Grasses roll as oceans lie – under a Payne’s Grey sky

Thirteen black crows now nothing left to show
all gone flown away (you know) nothin’ left to hold
hay day, some day, who said that I would stay
Waiting for some random act to follow me back home
The crow flies high – under a Payne’s Grey sky
The crow flies high – under a Payne’s Grey sky

If there comes a day when this wind does not stay
I expect I’ll not be here tomorrow
When the crow flies then the days die
and I know that I must try to overlook my sorrow
And the days fly by – under a Payne’s Grey sky
And the days fly by – under a Payne’s Grey sky

(J. Crawford, 2010)
Janet Crawford: harmonies
Ray Legere: fiddle
Jean-Guy Grenier: pedal steel guitar
Georges Hebert: guitar

This song was written with a humourous spirit. ‘Tongue in Cheek”… sort of….

Well, this could have been a love song
But you and I we got it wrong
It’s clear to see it now in the light of day
And were those years a waste of time
When you and I were in our prime
And can we now get up and walk away.

But, there’s a black crow in the tree
looking down – scoldin’ me
He always seems to talk to me in tongues
But I don’t understand a word
and I don’t want to sound absurd
But isn’t love just wasted on the young.

Crows and trains are leavin’ town
In the dawn they’re the only sound
Hearts lie unclaimed along the way
And even though we know the end
the love song that it could have been
There’s nothing really left for us to say

But, my high flying friends
they have a lot to say
from the tops of trees
they always speak in tongues.
But I don’t understand a word
and I don’t want to sound absurd
But isn’t love just wasted on the young.

There’s a black crow in the tree
He’s a lookin’ down at me
He always seems to talk to me in tongues
But I don’t understand a word
and I don’t want to sound absurd
But isn’t love just wasted on the young
But isn’t love just wasted on the young.

(J. Mercer / H. Carmichael, 1933)
Janet Crawford: whistling
Ray Legere: mandolin
Roger Williams: dobro

(Cole Porter, R. Fletcher, 1934)
Janet Crawford: harmonies
Ray Legere: fiddle
Georges Hebert: rhythm and lead guitars
Jean-Guy Grenier: pedal steel guitar

(J. Crawford, 2012)
Dylan Maddix: trumpet
David Rogosin: piano

Every stage in life brings with it a slightly different perspective. I’ve always found it somewhat difficult to express personal thoughts through such a public venue like songwriting, but… sometimes it just has to be said.

Let’s find a new place to start
Take all those old yesterdays
And throw them under the bed
forget the hurt, forget the tears
Let’s start again.

When all of the talking is done
What are we left with… alone
If there is enough to hold fast
throw in the towel, let go of the past
Let’s start again.

Time moves along
No turning back
Can’t replay those old days again.
Nights to remember
Love’s little embers
Burning a hole in our hearts
Burning a hole in our hearts.

Let’s find a new place to start
A place where the words are all gone
Where hearts beat like cicadas in the hot summer sun
and lull to a warm winter’s sleep when life’s done
Let’s start again.

Time moves along
No turning back
Can’t replay those old days again
Lives to remember
Love’s little embers
Burning a hole in our hearts
Burning a hole in our hearts
Burning a hole in our hearts.

(G. Gershwin, B MacDonald, B. DeSylva, 1924)
Ray Legere: fiddle
Georges Hebert: guitar

(G. and I. Gershwin / D. Heyward, 1934)
David Rogosin: piano

(W. Nelson, 1961)
Ray Legere: fiddle

(C. Wheeler, 1979)
Ray: fiddle/mandolin/guitar
Roger Williams: dobro

(J. Crawford, 2006)
Ron Sims: guitar
Dylan Maddix: trumpet
James Kalyn: saxophone
Linda Pearse: trombone
Horn arrangement by Jim Code

One of the wonderful things about living in a town like Sackville is that the university community and the town community mesh together quite well. It’s a small town. I had the pleasure of getting to know Linda, James and Dylan through the Elastic Big Band experience and although we hadn’t shared a lot of musical ‘time’ they were all very generous and immediately agreed to help out on this recording. This speaks volumes about them and our community.

I’m often asked about the song Bridge Street. One warm September evening a few years ago, I closed my art gallery and started the short walk up the street to the main intersection. The Mount Allison students had just returned from summer break and the sidewalk was full of kids all talking and laughing. It was Open Mic night at the neighbouring café and music was pouring out the open door. It felt good and ‘very Sackville”.

I continued my stroll to the intersection and while waiting for the Walk Sign I glanced back down the street at the activity I’d just traveled through. There, in the middle of the street, just above the horizon line, overlooking the vibrant street scene, was a bright full moon beaming down on us all. Quiet, still and beautiful. I took some time to marvel at the randomness of it all and a thought passed through my mind… “I wonder what Joni Mitchell would do with a scene like this?” I went home and wrote the song.

While working on the arrangement I asked my friend Jim Code, a Mount Allison music professor, if he’d give it a listen and see if perhaps a trumpet might work into the song. Jim very generously wrote an entire horn section using trumpet, trombone and saxophone. I love how Jim brought the lyrics to life by writing some humour into the arrangement. Good work Jim, and thanks everyone!

There’s a big full moon over Bridge Street
The kids crowd the sidewalk and tease
September farmers sleep in their beds
and flowers still bloom in the warm evening breeze

Well, the Café is full and it’s noisy
singing spills out on the street
Still no one is daring or dancing
they just haven’t found their own beat

Oh, the rhythm is strong and it works like a spell
Oh, we watch it as it weaves its delight
By the fat faced moon over Bridge Street
Oh, Joni – where are you tonight?

All around town the tide is rising
the flirting giggles crescend
then they dance on the banks of an unknown shoulder
alas another school year begins

But this old town can handle the flurry
These boys will become old men
The drunken sounds of a Friday night party
Will fade… but then it comes again

But it’s all new to them – our newly-found friends
While farmers dream deep in their sleep
The harvest moon watches over us all
And the secrets on Bridge Street we keep

Oh, the rhythm is strong and it works like a spell
Oh, we watch it as it weaves its delight
By the fat faced moon over Bridge Street
Oh, Joni – where are you tonight?

This little town’s hopping tonight!

(R. Noble, 1934)
David Rogosin: piano
Dylan Maddix: trumpet

(J. Crawford, 2014)
David Rogosin: piano
Dylan Maddix: trumpet

Again my experience returns to windy Sackville and the Tantramar marshes. All my life I’ve watched the wind swirl around the road dirt, the hay dust, chimney smoke and snow. I’d love to feel what it’s like to be ‘swirled’ and I wanted to end this project on a ‘high sweet note’.

Standing underneath the stars
The night is glowing dark
And the birds have all ended their song
Here I wait – anticipate
Hanging on for hope and fate
In my arms I hold the right and wrong

It was always in my dreams
I would travel on the seas
And I’d find my way back home again someday
I’ve known more than I have lost
Gathered more than just the cost
Grown in my heart and always found my way

Dancing underneath the stars
The air is cool and the night is calm
Sing with me, swing with me, swirl me all around
I never want to ever touch the ground
I never want to ever touch the ground

When time has slowed me down
And memories fade to brown
I’ll recall chilly nights beneath the stars
when your heart was close at hand
and my world was oh so grand
and the breeze held love in its arms

Dancing underneath the stars
The air is still on a gentle wind
Sing with me, swing with me, swirl me all around
Love will be forever til the end

Tag:
This dance will never end
This dance will never ever end
Love will be forever in the end
This dance will never ever end
Love will never end.

BONUS TRACK

(L. McAuliffe, 1949)
Ray Legere plays all instruments.

The story behind the Bonus track.

As we were nearing the end of the production phase of this project, it occurred to me that although I was so lucky to have Ray playing on half of the songs, I didn’t really feel that the full nature of his talent was being demonstrated. I asked him if he would like to contribute a Bonus Track which really showcased his talent. As far as I was concerned, Ray was the ‘bonus’.

He refused on the grounds that this was my project and I should be showcased. Every so often I would raise the question again and each time I would get either the same answer or… no answer. Then one day while I was listening to one of his solo CDs, “Squirrely Moves” that had been released in 1999, I heard a song that was not only outstanding from a performance perspective but… it echoed many of the stylistic directions that we had taken on the project. I really thought it would fit into this project so well and would draw some attention to his remarkable ability.

Whether I just ‘wore him down’ or finally convinced him that this song ‘belonged’ on the CD… he finally agreed. Yahoo! So now we have a Bonus Track … and what a bonus!

“Panhandle Rag” was written in 1949 by Leon McAuliffe. Ray plays every instrument on this song, as well as recording and engineering it. I hope more people come to know and support his music.

To learn more about Ray Legere, and to purchase his recordings or see where he is currently performing, visit his web site or email him.

Originally from Amherst, Nova Scotia, Ray Legere has become one of Canada’s well-respected multi-instrumentalists crossing many genres. He is the winner of an ECMA, a five-time winner of the Eastern Division Bluegrass Awards in the categories of mandolin and fiddle, a Nashville Grand Masters Fiddle Champion, and a mandolin champion in both Canada and the US.

He has played at the Grand Ol’ Opry and Carnegie Hall, and has toured with David Grisman, Jerry Douglas, Doc Watson, Bela Fleck, The Band, the Rankins, Rita McNeil, and Tony Rice, to name a few. Ray was an integral member of the “Bowfire” ensemble for a number of years touring North America and Europe.

Ray worked as musical director for the CBC television series “Fiddlehead Country” and is the house fiddler for the french music show “Pour L’Amour De Country”. He continues to tour and record with many well-respected artists.

“Ray was the back bone of this recording project. He provided outstanding creative musical direction and technical expertise, and his assistance in producing this project cannot be overstated.

For almost an entire year we got together in his basement studio to talk, plan, listen and record each song. Ray was always there to provide gentle nudges, sound judgements and light-hearted encouragement. He and his wonderful wife, Jill, really made me feel welcome in their home. I’d chat with their kids at the end of our sessions – usually with them already at the supper table.

Ray is a quiet guy… soft spoken. A perfect producer – I think. He brought amazing musicians into the project and got the ‘best’ from all the artists we worked with in the studio. For me he was my mentor – my guru. I learned so much working with him. Thank you Ray, for everything.” – Janet Crawford

Born in Moncton, New Brunswick, Georges began playing in the early sixties, influenced by Chet Atkins, Hank Garland, Harold Bradley, Django Reinhardt, Barney Kessel and Charlie Byrd.

He began his musical career playing with the Brunswick Playboys in Moncton and later in Halifax with CBC-TV Music Hop (Frank’s Bandstand) and Sing-along Jubilee.

In the mid seventies, he toured with Anne Murray and later with Ian Tyson’s Great Speckled Bird, returning to Halifax to perform on CBC shows such as Denny’s Show, The Marg Osburne Show, The John Allan Cameron Show, Sunshine Hour and Coming up Country. In 1979 he rejoined The Anne Murray Show until 2008.

Georges has performed with Moe Koffman, Gene MacLellan, Dusty Springfield, Denny Doherty, Bruce Guthro, Vera Lynn, Jonathan Edwards, Shirley Eikhard, Bryan Adams, Jann Arden, and Celine Dion. He has toured all over Canada, the United States, Europe, Australia and New Zealand, playing in well-known concert halls such as Carnegie Hall and Radio City Music Hall in New York, The Greek Theatre in Los Angeles, Royal Albert Hall, The London Palladium and Victoria Palace in London, England, as well as Centennial Hall in Monte Carlo.

“Here is a perfect example of how beautiful the musical community can be. Because of Ray’s background and experience, he suggested Georges at the beginning of this project. He said he had great respect for Georges’ playing and thought he might be approached to provide some of the guitar tracks. I left Ray to make the contact. Of course, these days, musicians speak to each other by sending tracks back and forth over the internet. Distance doesn’t mean anything anymore.

Well, to my great surprise and joy, within a few weeks Georges had not only replied but had sent back some tracks based on the charts and demos that Ray had provided. I was thrilled. All that talent, experience and knowledge was being poured into these songs of mine. Wow – it was hard to believe.

I’ve emailed Georges to thank him and express my appreciation for not only his willingness to work with me, but for giving his amazing talent to this project. I hope I’ll have a chance to meet Georges face to face some day. Merci beaucoup, Georges.” – Janet Crawford

Toronto-based trumpeter Dylan Rook Maddix is quickly building a reputation as a performer, teacher, and conductor. He was a prize winner at the 2011 & 2014 National Music Festivals, and has been a featured soloist with the Prince Edward Island Symphony, the Greater Moncton Chorale and Orchestra, the Mount Allison University Symphonic Band, and the Strathgartney Chamber Orchestra.

His musicality and professionalism have led him to numerous programs, competitions and ensembles in Canada and the United States including the Scotia Festival of Music, Charlottetown Festival, Festivals of Music in New York City, Indian River Music Festival, and Music Fest Canada. He has worked with performing artists Aaron Hodgson, Jens Lindemann, Jeff Nelsen, Ingrid Jensen, Guy Few and most recently, the Canadian Brass.

“I first met Dylan just before he graduated (BMus) from Mount Allison University here in Sackville. I recognized immediately that this young guy was so talented. Although he is classically trained it was obvious that he enjoyed playing jazz and was very versatile. He made it look so easy! So effortless!

I went out on a limb and just asked if he might be interested in listening to some of my demos in hopes of including him on this project. He was enthusiastic. A week later we were in Ray’s studio. Dylan gave us wonderful tracks. He really ‘got’ the songs and his contributions were thoughtful and exciting. He and Ray worked well together and it was a neat experience for me to just stand back and watch two pros work out all the intricacies. The trumpet can have such a human-like voice and I really loved exploring the play between the vocal lines and the trumpet lines.

Dylan is now in Toronto studying at the University of Toronto working towards his Masters of Music (Trumpet Performance). Dylan – you’re a prize! Thank you so much for everything you gave to this project. All the best to you as you continue to develop your career. I think we’re going to be hearing a lot more from you in the years to come.” – Janet Crawford

Playing the guitar, pedal steel guitar, banjo, bass and drums, Jean-Guy Grenier – a native of Amos in the Abitibi region – is a multi-talented musician who got his first start at the age of 11 in Val-d’Or.

His mastery of the pedal steel makes him one of the most sought-after musicians in the world of country music. He works with many established studios in Montreal and Toronto and has toured with major artists such as Patrick Norman, Roch Voisine, Renée Martel, Édith Butler, Alain Morisod and Bobby Lalonde in Canada, the US and Switzerland.

In 1996 he released his first solo album, Go West. He is an integral “house band” member for several television programs including Viacountry, Country City Centre and For the Love of Country.

“Ray is remarkably good at knowing what is needed for a song and he always had great suggestions for musicians who we should approach to contribute.

Once we realized that we were both excited about introducing a Texas swing style or Hillbilly Jazz influence into some of these songs, Jean Guy Grenier’s name was high on the list of musicians we’d hope to incorporate into the mix.

Ray and Jean Guy have played together on many occasions, and lucky for me, the taping of the TV series, Pour L’Amour du Country was being done in Moncton NB. Ray asked and he agreed and while they were both in Moncton taping the program, Ray was able to set up a mobile session. I was fortunate enough to meet Jean Guy during one of the rehearsals for the program.

Jean Guy plays on three of the songs. The addition of his creative and strong pedal steel tracks certainly adds an authenticity to the overall presentation of the CD. Merci, Jean Guy.” – Janet Crawford

Roger Williams was born to traveling musicians Gerry Lee and Curley Williams, who were on the road performing with Ray Bradley and His Tennessee Champions (Gerry on upright bass and vocals, and Curley on Dobro and vocals) in northern Maine. Gerry realized that being on the road constantly wouldn’t allow her the time to be the mom she wanted to be so she returned to her hometown of Lawrence, Massachusetts, where Roger spent his formative years. She passed her passion on to Roger and from an early age he learned to sing the harmony parts to Gerry’s vast repertoire of old country songs.

In his early teens Roger developed an interest playing the Dobro and his father gave him some pointers to get him started. Within a year Roger was sitting in with The Lilly Brothers and Don Stover at the world-famous Hillbilly Ranch in Boston, Mass. Since then he has gone on to perform and record with many well-respected bluegrass and folk acts on the national and international circuit. Career highlights include twelve overseas tours with various artists and teaching workshops. Roger currently performs with Amy Gallatin & Stillwaters, which has a steady presence in Europe, UK, and Canada, as well as the eastern seaboard of the US.

“During one our first meetings to discuss the song selection for the CD, I casually mentioned to Ray that one of my favorite songs was an obscure song, Summer Fly, by an American songwriter Cheryl Wheeler. The version I am familiar with is by an Irish powerhouse vocalist, Maura O’Connell, which I am really drawn to by its use of mandolin and dobro. Ray knew the song well and had performed it with a number of vocalists. I was starting to understand Ray’s vast experience. So much for obscure songs! Ray was very enthusiastic and although I wasn’t confident that I could ‘pull it off’, I agreed to give it a try. The tempo is strong and the vocal phrasing requires the lung power of a Right Whale.

Then Ray told me a story about his friend Roger Williams and the assistance that his generosity played in helping Ray get started. As a young man, Roger invited Ray to come and live with his family to help him get a ‘start’ into the US market. Well, they’ve been good friends ever since and have shared many hours playing together.
Ray said that Roger would be ‘the one’ to play the dobro track to the song Summer Fly and it became obvious to me that to be given the good fortune of having two remarkable musicians – masters in the two instruments that I wanted to work with – was too good to pass up. It is amazing to hear these two friends, who obviously enjoy playing with each other, really bring this song to life. It would be such a gas to play this song ‘live’ and watch Roger and Ray play together again. Then again, we’d need to either clone Ray two more times or find another fiddle and guitar player!” – Janet Crawford

Sackville native Ronnie Sims started playing guitar along-side his father and brothers. His natural talent has developed into a love of both acoustic and electric guitars (which he loves to collect!). He plays many different genres equally well, but has a deep understanding and love of the ‘blues’. Ron has provided lead guitar for a number of Maritime-based bands including The BS Blues Band, Big Daddy Shad and, most recently, the Mark Green Band.

“Ron is a very competent and versatile player. We’ve played in kitchens and living rooms together for years – and almost every genre of music. He brings a creative interpretation to whatever he’s playing and his quick wit and great sense of humour make every occasion fun. Thanks Ron for agreeing to provide the guitar line for Bridge Street – both in its first incarnation and again for this version.” – Janet Crawford

Linda Pearse is recognized as a specialist in the exquisite musical repertoire of early seventeenth-century Italy. Pearse is Lecturer for Baroque trombone at Indiana University Bloomington, and Assistant Professor of Brass at Mount Allison University. She is the Artistic Director of the San Francisco Early Music Summer Baroque Workshop and is the artistic director of the award-winning ensemble ¡Sacabuche! Her critical edition of Seventeenth-Century Italian Motets with Trombone has been published with A-R Editions (April 2014).

I had the good fortune of working with Linda on a recording project with her classical ensemble ¡Sacabuche!. She is a committed musician and an exciting teacher and conductor. She readily agreed to help out on the song, Bridge Street, and I appreciate her encouragement very much. Thanks Linda for your contribution to this project.– Janet Crawford

Lauded by colleagues and students as a “world-class doubler”, James Kalyn has built a career over the past twenty-five years as a soloist and orchestral musician of the highest calibre on both saxophone and clarinet. He is currently a Professor of Single Reeds and Conducting at Mount Allison University and maintains an international career as a performer, conductor, and pedagogue.

I’ve enjoyed getting to know James.  He brings a spark to his teaching and certainly to his performing. I was thrilled when James agreed to listen to some of my music and contribute his talent to the horn arrangement written by Jim Code for Bridge Street. Thank you James for everything. It’s been fun working with you. – Janet Crawford

Janet Crawford is a singer-songwriter with a repertoire that includes original tunes, some old-time country and especially standard jazz classics. Besides her performance with small ensembles she is also a vocalist with the Elastic Big Band from Nova Scotia.