Simon St. Pierre

An ex-lumberjack, this burly citizen of Maine learned to try out the fiddle, as well as the French-American repertoire that went combined with the device, in the lumbering camps of North Canada. The initial recordings of Acadian music created by artists like the great fiddler Isidore Soucy had been the bedrock resources of a lot of this materials and Simon St. Pierre later on became something of the repository for fiddle-tune ore that more youthful decades of players had been ready to drill down. St. Pierre, who was simply featured on many recordings of traditional music through the ’70s and ’80s, was a far more eclectic participant than a few of his peers, having also perfected the repertoire from what he known as the “southern” college. This designed south from the border and additional south, towards the property of bluegrass and old-time. He’d often add spice to his shows of Quebec fiddle music with a number of the second option designs and certainly experienced the clean firmness and exact, fast-moving fingering a new player would have to perform bluegrass music. He required this music significantly enough to front side a band known as the Dukes of Bluegrass, with whom he cut three albums for the Revonah label in the middle- and past due ’70s. Tracks in one of the albums, Fiddler From Maine, had been still getting performed on bluegrass radio displays a quartet of a hundred years later. Among this artist’s most flexible performances, however, didn’t involve hotshot bluegrass fiddling, but instead was a funny and evocative imitation of the quarrelling couple, a normal fiddle melodrama entitled “Growling Aged Man and Female.” This piece was a normal portion of St. Pierre’s concert demonstration and was documented for posterity over the live Rounder compilation entitled Music of French America. St. Pierre may be the composer of several fiddle music, including “Flanigan Polka” as well as the “Content Acres Two Stage.”