Who IS Carol Walker anyway???
Childhood Inspirations
I'm originally from Colorado where I spent my first 18 years, dividing my time between Denver and Colorado Springs. My father was also a musician, and noticed that I displayed an interest in the piano at a very early age. When I was only four years old I would toddle over to the piano in the living room, reach up over my head to the keyboard, and poke around until I had found the right notes. In no time I was plunking out a tune I had just heard on the radio, or something my older sister had been practicing. Soon I was playing tunes like “The Tennessee Waltz” and “Mockingbird Hill” without ever having a single lesson.
My father decided to find a piano teacher for me so that I would learn to read music, rather than just playing it by ear. This young age was an obstacle (as I hadn’t yet started school, and couldn’t read or write), but finally a teacher was found and the lessons began.
It would be a fair statement to say that as a result of this early training, I am fluent in two languages: Music and English, having learned both from a very young age.
My early start at the piano paid off as I progressed through school. I participated in many talent shows, was the accompanist for all the school choirs, and even played the Grieg Piano Concerto in A-Minor with the school orchestra in my senior year.
A highlight of my high school years was an appearance on the stage of the famous Red Rocks Theater near Denver, where I was a finalist in the “Stars of Tomorrow” competition.
In addition to private studies, I received a first-rate musical education throughout my school years. I must give credit to my junior- and senior-high choral teachers (Marian Thompson, Jerry Teske, Frank Gilles, and Dana Wells) for inspiring me to become a music teacher myself.
Professional Development
Those childhood dreams would be put on hold, however, while I headed in a different direction for the next fifteen years, during which time I married and had a son. In the early 1960s I left Colorado behind for good, moving first to Connecticut, then to New York, and ultimately to New Jersey where I have lived for the past 40+ years. During those early years, in addition to being a Mom and holding down a “real” job, I continued to free-lance, serving as theatrical musical director, church organist, and accompanist for members of the Metropolitan Opera, New Jersey Symphony Orchestra, and various school and community choral ensembles.
One such position was as an adjunct instructor at the newly formed Montclair High School of Performing Arts, where I was hired in the mid-70s to teach piano, harp, and theory, and also serve as accompanist for the six productions they presented throughout the school year.
But this was only an adjunct position. A "real" teaching position would not be available without a degree and teaching certificate. So, at the ripe old age of 30-something, and while continuing to teach at the performing arts high school, I finally decided to fulfill my dream of being a high school choral teacher. I enrolled at Montclair State College, and after only three years, graduated summa cum laude. I earned the long-awaited teaching certificate, and a degree in Music Education, with majors in piano, voice, and harp.
Music Education Career and Professional Achievements
The summer after college graduation, I interviewed for a choral job at Summit High School, and was hired on the spot. During my ten years in Summit I also taught at the middle school, and at almost every elementary school in town.
Ten years later, I left Summit to take a position in the Wayne schools, where I also did double duty as the middle school and high school choral director. My choral programs flourished, winning top honors and highest ratings at annual festivals. Every spring my choirs and I would board buses and head to such places as Williamsburg, Toronto, Boston, Cleveland, and Washington, DC, to participate in competitive choral festivals where we generally received Excellent and Superior ratings.
The 90s were productive years at the state level as well: I was an active participant in the state organizations, serving for ten years as Choral Division Chairperson for the North Jersey School Music Association, and three years on the All-State Choral Procedures Committee; I was guest conductor for the NJ Region One Junior Women’s Chorus, NJ Region One Senior Women’s Chorus, the Sussex County and Morris County Honors Choirs, and also served as the piano accompanist for several NJ Region and All-State Choruses.
A highlight of my career, for both my students and myself, came in the early 1990s when my high school chorus was selected to sing on the stage of Radio City Music Hall as backup to Barry Manilow, who was appearing in New York City for eight nights. (I’ll always remember the day I announced to my choir that we would be singing with this iconic pop legend -- their reaction was not exactly what I had expected: “Barry who? Who’s Barry Manilow?” Ah, youth….)
The following year, my group was again asked to appear at Radio City, this time to sing with tenor José Carreras who was doing a world tour to raise money for Leukemia research.
In the late 1990s I joined the staff of American Music Abroad, a company that arranges European concert tours for high school students. For the next seven summers, along with some of my choral and band colleagues from NY and NJ, I traveled with 200 students to Europe, performing and sightseeing in Switzerland, Germany, Austria, Hungary, Italy, France, and The Netherlands. During these amazing three-week tours I served as both conductor and accompanist.
In 2003, I was the proud recipient of the New Jersey Governor's Teacher of the Year Award. Very cool.
In 2008, I finally decided it was time to retire and let someone else have all the fun!
Retired....but far from done yet!!
I may be retired from my “regular job” but by no means have I left the world of music, or of teaching. In 2007, I was honored to be asked to join the staff of the prestigious Masterwork Chorus, where I continue to serve as their pianist for all rehearsals and performances. In January of 2023, I was appointed as Assistant Director of Masterwork Chorus, and was also given full charge of building and rehearsing a women's chamber ensemble. This new group made their premier performance on the beautiful stage at Drew University in May of 2023.
In January of 2024 I began work at my new post as accompanist for the Choral Art Society of New Jersey, based in Westfield.
I was also hired to build an after-school choral program at the Academy of St. Elizabeth in Morristown, and joined the adjunct faculty at William Paterson University. I have continued working with various high schools in the area, serving as accompanist and musical director.
And on various weekends in the spring, I have served as an adjudicator for the very same companies that sponsor competitive school music festivals that I myself attended with my own students in earlier years. I began working in 2011 for Festivals of Music as Regional Coordinator for their NYC area festivals. I had a lot of fun greeting school groups from all over the United States and Canada as they arrived for their adjudication, and presenting their trophies the next day at the Hard Rock Café in Times Square. I thoroughly enjoyed sitting on the “other side of the table” in yet one more retirement direction.
Classical Roots Branch Out
Attending college as an adult led to great new beginnings as I branched out from my classical piano experiences, and began studying harp with Dr. Rosalie Pratt at Montclair State. My senior recital included both piano and harp works. As a harpist I was hired by local orchestras and musical theaters, and began booking weddings and parties for harp. Later on, I added a folk harp to my collection and continue to enjoy performing on this beautiful instrument in various settings.
After purchasing an Appalachian mountain dulcimer in 1999 during a vacation to Kentucky, I began practicing this unique instrument and soon became proficient enough that I was invited to teach at several dulcimer festivals in the Northeast. I now own many different dulcimers: the first one from Warren May, a Standard and a Ginger from McSpadden in Arkansas, a baritone (now converted to a bass) a Traveler, and a fabulous 5-string MaxDAD dulcimer from FolkCraft in Connecticut/Indiana, two from Bear Meadow Dulcimers in Rochester, (including a Concert Grand, a magnificent baritone (or standard) that is as beautiful to play as it is to look at, complete with hand-carved rosettes and inlays), a Laurel Mountain Custom, a Ron Ewing dulcimette, a reproduction of a Prichard repro dulcimer built by Kevin Messenger, and a Sweet Strings standard by Jon Harris. Also, a teeny-tiny dulcimer built by Don Neuhauser -- it truly is teeny-tiny, with everything sounding two octaves higher. Along the way I also added a Terry McCafferty dulcimer to my collection. It has a distinctive design that reminds me of the decoration on a western shirt, and because it was made in Texas it seemed appropriate to feature it when I do my cowboy songs. His name is Trigger.
And around Christmastime of 2021, an opportunity arose for me to acquire a vintage Sam Carrell dulcimer, signed by the builder and dated 1977. It's a 5-string teardrop shape, with walnut back and sides and a redwood top. The Carrell instruments were typically set up for 4-string equidistant playing, with the melody string doubled, hence the 5-string configuration.
Among my most recent acquisitions (as of 2020), are a series of Folkcraft dulcimers, specially designed by owner and builder, Richard Ash. I asked if he could make me a special dulcimer with the Manx "Three Legs" logo on it, and he not only made a gorgeous baritone with that design, a few months later he also built a Standard for me, both with his signature "California" body, and incredible sustain. For now, at least, my Folkcraft family is complete: Miss Manxie (standard), Sir Dolyn (baritone), Basso Profundo (bass) and The Beast (5-string MaxDAD). In 2022 I was asked to join Folkcraft's elite roster of Endorsing Artists.
Inspired by my visit to the Isle of Man in 2009, I began doing research and collecting hundreds of Manx tunes with the idea of arranging them for mountain dulcimer. These wonderful Celtic-influenced tunes are relatively unknown in this country, and it became my mission to change all that with the publication of my first collection, Tailless Tunes - Traditional Music from the Isle of Man, which was released in October of 2010. Also released at that time was my first CD, Alas! The Horse Is Gone, an eclectic presentation of my favorite Manx tunes, on which I sing and also play mountain dulcimer, harp, piano, melodica, and upright bass. I was joined by Brian Lindsay, a Celtic fiddler and whistle player, along with a professional guitarist and bodhran player.
I had so much fun writing my first dulcimer book that I decided to do a much-needed instructional series using familiar American folk tunes. The result was DNA* Dulcimer Ditties (*tunes so familiar they’re practically etched on your DNA). The first two books of this trilogy were released in 2013, and have been very popular.
My fourth dulcimer book, a sequel to the first book of Manx music -- Tailless Tunes 2 -- MORE Manx Music for Mountain Dulcimer -- was released in July of 2014. Picking up where the first Manx book left off, it includes about 40 more traditional tunes, arranged for players of every level, along with a dozen tunes written by contemporary Manx musicians who are composing in the style of the old traditional players.
Writing dulcimer books seems to be my new-found passion -- it took me about 65 years to write the first one, but the next four books only took about a year each…. DNA* Dulcimer Ditties - Book 3 - the third and final installment of the DNA trilogy, was released in January of 2016. A book of arrangements of classical music was officially released in the fall of 2017. Its title: Classical Dulcimer for Wascally Wabbits -- Cwassical Favowites Awwanged by Cawol Walker. Needless to say, the memories of Bugs Bunny cartoon soundtracks had a great influence on this book! A long-awaited book of hymns made its appearance in 2019 -- Church in the Wildwood. There are 40 of my favorites in this book, with each one suitable as a solo, duet, or ensemble piece, for novice to advanced players. Book #8 was released on January 1, 2022 -- Many Hands, Many Dulcimers -- my first official foray into the world of dulcimer orchestras, and written specifically for the First National Dulcimer Orchestra which debuted (on Zoom) in 2020, thanks to the efforts of Judy & Kirk House, and Melanie & Mack Johnston.
A most unique arranging opportunity presented itself in August of 2021 when I learned of some "lost" music from the Isle of St. Kilda, a tiny archipelago about 50 miles off the western coast of Scotland. Thanks to fellow dulcimist, Terry White, who first told me about these haunting songs, I was able to convert some piano music into dulcimer songs. This project also included the release of a CD of all the melodies as arranged in my book, recorded over a background of ocean sounds, including crashing waves and squawking seagulls. Even a thunderstorm at sea! The background story is amazing, and can be read on a special webpage devoted to Melodies of St. Kilda.
But the recent project that has sparked the most interest is my venture into the land of Winnie-the-Pooh. Many people are not aware that the famous poems written by A.A. Milne in the early 1920s were set to music by composer Harold Fraser-Simson. In February of 2023 I released Pooh Songs Volume One, the first book of a trilogy which will feature all the songs, including the "Hums of Pooh."
A year later, in February of 2024, I released Pooh Songs Volume TWO, which contains another fourteen songs from Milne's When We Were Very Young, as set to music by H. Fraser-Simpson. This series is turning out to be waaaay more than a trilogy... Watch this space!
A unique venture into dulcimer instruction occurred in 2015 when Happy Traum, founder of Homespun Tapes in Woodstock, New York, asked me to film a dulcimer DVD. The result was a 67-minute video entitled Exploring the Beauty of the Appalachian Dulcimer, in which I demonstrate my signature style of performing by combining right-hand fingerpicking techniques with smooth left-hand fretting techniques. This is the first dulcimer video produced by Homespun for many years -- I'm so honored to be in the same catalog as two other dulcimer notables, Jean Ritchie and David Schnaufer!
My venture into the world of folk music led me to meet a wonderful group of people in Pennsylvania who had formed an old-time band, Wayfarers & Company. I have continued to play harp, dulcimer, piano, and upright bass with this group since 2002, as well as adding my own backup vocal harmonies. Our first CD, Vacant Chair, is available on CDBaby. Our second album, Trimmed and Burning, was released in 2011. Work on a third CD began in the early spring of 2017, with a release date TBA.
Musical theater became another of my personal passions, a side career which actually has its roots in my high school years, and which branched out into local community and dinner theaters from the early 60s to the present day. I have played and/or conducted literally thousands of rehearsals and performances.
The acquisition of a synthesizer allowed me to become a one-woman orchestra. I am regularly commissioned by several theaters, schools, and choral groups to provide the entire orchestration, complete with strings, brass, winds, and percussion, producing a professional recording suitable for both rehearsal and performance.
My bass playing has opened up a lot of unique doors for me, but none so different as membership in a local Mummers string band. You haven’t lived until you’ve played the old standards with a bunch of banjos, saxophones, and accordions. They’re a terrific group of people -- I love playing with them -- they do lots of concerts for senior centers and special-needs kids, but I draw the line at pushing or carrying my bass along a 5-mile parade route while wearing a 25-pound sequined costume (called a “suit”), complete with a 2-foot-high-orange-and-pink feathered headdress…. On a bitter-cold New Years Day in Philadelphia. Nope. Sorry.
Thus, my love of theater, music, and travel, all instilled in me and encouraged by my supportive father during my very youngest days, has come full circle: I look back with satisfaction on a successful teaching career, continue to perform on multiple instruments in a variety of venues, AND travel in my nifty little RV (named Miss Daisy) to festivals all around the US. I am truly blessed.
The icing on the cake...
I have one wonderful son who is a retired NJ police sergeant. Russ and his wife, Tammy, and son Josh live in South Carolina.
I'm originally from Colorado where I spent my first 18 years, dividing my time between Denver and Colorado Springs. My father was also a musician, and noticed that I displayed an interest in the piano at a very early age. When I was only four years old I would toddle over to the piano in the living room, reach up over my head to the keyboard, and poke around until I had found the right notes. In no time I was plunking out a tune I had just heard on the radio, or something my older sister had been practicing. Soon I was playing tunes like “The Tennessee Waltz” and “Mockingbird Hill” without ever having a single lesson.
My father decided to find a piano teacher for me so that I would learn to read music, rather than just playing it by ear. This young age was an obstacle (as I hadn’t yet started school, and couldn’t read or write), but finally a teacher was found and the lessons began.
It would be a fair statement to say that as a result of this early training, I am fluent in two languages: Music and English, having learned both from a very young age.
My early start at the piano paid off as I progressed through school. I participated in many talent shows, was the accompanist for all the school choirs, and even played the Grieg Piano Concerto in A-Minor with the school orchestra in my senior year.
A highlight of my high school years was an appearance on the stage of the famous Red Rocks Theater near Denver, where I was a finalist in the “Stars of Tomorrow” competition.
In addition to private studies, I received a first-rate musical education throughout my school years. I must give credit to my junior- and senior-high choral teachers (Marian Thompson, Jerry Teske, Frank Gilles, and Dana Wells) for inspiring me to become a music teacher myself.
Professional Development
Those childhood dreams would be put on hold, however, while I headed in a different direction for the next fifteen years, during which time I married and had a son. In the early 1960s I left Colorado behind for good, moving first to Connecticut, then to New York, and ultimately to New Jersey where I have lived for the past 40+ years. During those early years, in addition to being a Mom and holding down a “real” job, I continued to free-lance, serving as theatrical musical director, church organist, and accompanist for members of the Metropolitan Opera, New Jersey Symphony Orchestra, and various school and community choral ensembles.
One such position was as an adjunct instructor at the newly formed Montclair High School of Performing Arts, where I was hired in the mid-70s to teach piano, harp, and theory, and also serve as accompanist for the six productions they presented throughout the school year.
But this was only an adjunct position. A "real" teaching position would not be available without a degree and teaching certificate. So, at the ripe old age of 30-something, and while continuing to teach at the performing arts high school, I finally decided to fulfill my dream of being a high school choral teacher. I enrolled at Montclair State College, and after only three years, graduated summa cum laude. I earned the long-awaited teaching certificate, and a degree in Music Education, with majors in piano, voice, and harp.
Music Education Career and Professional Achievements
The summer after college graduation, I interviewed for a choral job at Summit High School, and was hired on the spot. During my ten years in Summit I also taught at the middle school, and at almost every elementary school in town.
Ten years later, I left Summit to take a position in the Wayne schools, where I also did double duty as the middle school and high school choral director. My choral programs flourished, winning top honors and highest ratings at annual festivals. Every spring my choirs and I would board buses and head to such places as Williamsburg, Toronto, Boston, Cleveland, and Washington, DC, to participate in competitive choral festivals where we generally received Excellent and Superior ratings.
The 90s were productive years at the state level as well: I was an active participant in the state organizations, serving for ten years as Choral Division Chairperson for the North Jersey School Music Association, and three years on the All-State Choral Procedures Committee; I was guest conductor for the NJ Region One Junior Women’s Chorus, NJ Region One Senior Women’s Chorus, the Sussex County and Morris County Honors Choirs, and also served as the piano accompanist for several NJ Region and All-State Choruses.
A highlight of my career, for both my students and myself, came in the early 1990s when my high school chorus was selected to sing on the stage of Radio City Music Hall as backup to Barry Manilow, who was appearing in New York City for eight nights. (I’ll always remember the day I announced to my choir that we would be singing with this iconic pop legend -- their reaction was not exactly what I had expected: “Barry who? Who’s Barry Manilow?” Ah, youth….)
The following year, my group was again asked to appear at Radio City, this time to sing with tenor José Carreras who was doing a world tour to raise money for Leukemia research.
In the late 1990s I joined the staff of American Music Abroad, a company that arranges European concert tours for high school students. For the next seven summers, along with some of my choral and band colleagues from NY and NJ, I traveled with 200 students to Europe, performing and sightseeing in Switzerland, Germany, Austria, Hungary, Italy, France, and The Netherlands. During these amazing three-week tours I served as both conductor and accompanist.
In 2003, I was the proud recipient of the New Jersey Governor's Teacher of the Year Award. Very cool.
In 2008, I finally decided it was time to retire and let someone else have all the fun!
Retired....but far from done yet!!
I may be retired from my “regular job” but by no means have I left the world of music, or of teaching. In 2007, I was honored to be asked to join the staff of the prestigious Masterwork Chorus, where I continue to serve as their pianist for all rehearsals and performances. In January of 2023, I was appointed as Assistant Director of Masterwork Chorus, and was also given full charge of building and rehearsing a women's chamber ensemble. This new group made their premier performance on the beautiful stage at Drew University in May of 2023.
In January of 2024 I began work at my new post as accompanist for the Choral Art Society of New Jersey, based in Westfield.
I was also hired to build an after-school choral program at the Academy of St. Elizabeth in Morristown, and joined the adjunct faculty at William Paterson University. I have continued working with various high schools in the area, serving as accompanist and musical director.
And on various weekends in the spring, I have served as an adjudicator for the very same companies that sponsor competitive school music festivals that I myself attended with my own students in earlier years. I began working in 2011 for Festivals of Music as Regional Coordinator for their NYC area festivals. I had a lot of fun greeting school groups from all over the United States and Canada as they arrived for their adjudication, and presenting their trophies the next day at the Hard Rock Café in Times Square. I thoroughly enjoyed sitting on the “other side of the table” in yet one more retirement direction.
Classical Roots Branch Out
Attending college as an adult led to great new beginnings as I branched out from my classical piano experiences, and began studying harp with Dr. Rosalie Pratt at Montclair State. My senior recital included both piano and harp works. As a harpist I was hired by local orchestras and musical theaters, and began booking weddings and parties for harp. Later on, I added a folk harp to my collection and continue to enjoy performing on this beautiful instrument in various settings.
After purchasing an Appalachian mountain dulcimer in 1999 during a vacation to Kentucky, I began practicing this unique instrument and soon became proficient enough that I was invited to teach at several dulcimer festivals in the Northeast. I now own many different dulcimers: the first one from Warren May, a Standard and a Ginger from McSpadden in Arkansas, a baritone (now converted to a bass) a Traveler, and a fabulous 5-string MaxDAD dulcimer from FolkCraft in Connecticut/Indiana, two from Bear Meadow Dulcimers in Rochester, (including a Concert Grand, a magnificent baritone (or standard) that is as beautiful to play as it is to look at, complete with hand-carved rosettes and inlays), a Laurel Mountain Custom, a Ron Ewing dulcimette, a reproduction of a Prichard repro dulcimer built by Kevin Messenger, and a Sweet Strings standard by Jon Harris. Also, a teeny-tiny dulcimer built by Don Neuhauser -- it truly is teeny-tiny, with everything sounding two octaves higher. Along the way I also added a Terry McCafferty dulcimer to my collection. It has a distinctive design that reminds me of the decoration on a western shirt, and because it was made in Texas it seemed appropriate to feature it when I do my cowboy songs. His name is Trigger.
And around Christmastime of 2021, an opportunity arose for me to acquire a vintage Sam Carrell dulcimer, signed by the builder and dated 1977. It's a 5-string teardrop shape, with walnut back and sides and a redwood top. The Carrell instruments were typically set up for 4-string equidistant playing, with the melody string doubled, hence the 5-string configuration.
Among my most recent acquisitions (as of 2020), are a series of Folkcraft dulcimers, specially designed by owner and builder, Richard Ash. I asked if he could make me a special dulcimer with the Manx "Three Legs" logo on it, and he not only made a gorgeous baritone with that design, a few months later he also built a Standard for me, both with his signature "California" body, and incredible sustain. For now, at least, my Folkcraft family is complete: Miss Manxie (standard), Sir Dolyn (baritone), Basso Profundo (bass) and The Beast (5-string MaxDAD). In 2022 I was asked to join Folkcraft's elite roster of Endorsing Artists.
Inspired by my visit to the Isle of Man in 2009, I began doing research and collecting hundreds of Manx tunes with the idea of arranging them for mountain dulcimer. These wonderful Celtic-influenced tunes are relatively unknown in this country, and it became my mission to change all that with the publication of my first collection, Tailless Tunes - Traditional Music from the Isle of Man, which was released in October of 2010. Also released at that time was my first CD, Alas! The Horse Is Gone, an eclectic presentation of my favorite Manx tunes, on which I sing and also play mountain dulcimer, harp, piano, melodica, and upright bass. I was joined by Brian Lindsay, a Celtic fiddler and whistle player, along with a professional guitarist and bodhran player.
I had so much fun writing my first dulcimer book that I decided to do a much-needed instructional series using familiar American folk tunes. The result was DNA* Dulcimer Ditties (*tunes so familiar they’re practically etched on your DNA). The first two books of this trilogy were released in 2013, and have been very popular.
My fourth dulcimer book, a sequel to the first book of Manx music -- Tailless Tunes 2 -- MORE Manx Music for Mountain Dulcimer -- was released in July of 2014. Picking up where the first Manx book left off, it includes about 40 more traditional tunes, arranged for players of every level, along with a dozen tunes written by contemporary Manx musicians who are composing in the style of the old traditional players.
Writing dulcimer books seems to be my new-found passion -- it took me about 65 years to write the first one, but the next four books only took about a year each…. DNA* Dulcimer Ditties - Book 3 - the third and final installment of the DNA trilogy, was released in January of 2016. A book of arrangements of classical music was officially released in the fall of 2017. Its title: Classical Dulcimer for Wascally Wabbits -- Cwassical Favowites Awwanged by Cawol Walker. Needless to say, the memories of Bugs Bunny cartoon soundtracks had a great influence on this book! A long-awaited book of hymns made its appearance in 2019 -- Church in the Wildwood. There are 40 of my favorites in this book, with each one suitable as a solo, duet, or ensemble piece, for novice to advanced players. Book #8 was released on January 1, 2022 -- Many Hands, Many Dulcimers -- my first official foray into the world of dulcimer orchestras, and written specifically for the First National Dulcimer Orchestra which debuted (on Zoom) in 2020, thanks to the efforts of Judy & Kirk House, and Melanie & Mack Johnston.
A most unique arranging opportunity presented itself in August of 2021 when I learned of some "lost" music from the Isle of St. Kilda, a tiny archipelago about 50 miles off the western coast of Scotland. Thanks to fellow dulcimist, Terry White, who first told me about these haunting songs, I was able to convert some piano music into dulcimer songs. This project also included the release of a CD of all the melodies as arranged in my book, recorded over a background of ocean sounds, including crashing waves and squawking seagulls. Even a thunderstorm at sea! The background story is amazing, and can be read on a special webpage devoted to Melodies of St. Kilda.
But the recent project that has sparked the most interest is my venture into the land of Winnie-the-Pooh. Many people are not aware that the famous poems written by A.A. Milne in the early 1920s were set to music by composer Harold Fraser-Simson. In February of 2023 I released Pooh Songs Volume One, the first book of a trilogy which will feature all the songs, including the "Hums of Pooh."
A year later, in February of 2024, I released Pooh Songs Volume TWO, which contains another fourteen songs from Milne's When We Were Very Young, as set to music by H. Fraser-Simpson. This series is turning out to be waaaay more than a trilogy... Watch this space!
A unique venture into dulcimer instruction occurred in 2015 when Happy Traum, founder of Homespun Tapes in Woodstock, New York, asked me to film a dulcimer DVD. The result was a 67-minute video entitled Exploring the Beauty of the Appalachian Dulcimer, in which I demonstrate my signature style of performing by combining right-hand fingerpicking techniques with smooth left-hand fretting techniques. This is the first dulcimer video produced by Homespun for many years -- I'm so honored to be in the same catalog as two other dulcimer notables, Jean Ritchie and David Schnaufer!
My venture into the world of folk music led me to meet a wonderful group of people in Pennsylvania who had formed an old-time band, Wayfarers & Company. I have continued to play harp, dulcimer, piano, and upright bass with this group since 2002, as well as adding my own backup vocal harmonies. Our first CD, Vacant Chair, is available on CDBaby. Our second album, Trimmed and Burning, was released in 2011. Work on a third CD began in the early spring of 2017, with a release date TBA.
Musical theater became another of my personal passions, a side career which actually has its roots in my high school years, and which branched out into local community and dinner theaters from the early 60s to the present day. I have played and/or conducted literally thousands of rehearsals and performances.
The acquisition of a synthesizer allowed me to become a one-woman orchestra. I am regularly commissioned by several theaters, schools, and choral groups to provide the entire orchestration, complete with strings, brass, winds, and percussion, producing a professional recording suitable for both rehearsal and performance.
My bass playing has opened up a lot of unique doors for me, but none so different as membership in a local Mummers string band. You haven’t lived until you’ve played the old standards with a bunch of banjos, saxophones, and accordions. They’re a terrific group of people -- I love playing with them -- they do lots of concerts for senior centers and special-needs kids, but I draw the line at pushing or carrying my bass along a 5-mile parade route while wearing a 25-pound sequined costume (called a “suit”), complete with a 2-foot-high-orange-and-pink feathered headdress…. On a bitter-cold New Years Day in Philadelphia. Nope. Sorry.
Thus, my love of theater, music, and travel, all instilled in me and encouraged by my supportive father during my very youngest days, has come full circle: I look back with satisfaction on a successful teaching career, continue to perform on multiple instruments in a variety of venues, AND travel in my nifty little RV (named Miss Daisy) to festivals all around the US. I am truly blessed.
The icing on the cake...
I have one wonderful son who is a retired NJ police sergeant. Russ and his wife, Tammy, and son Josh live in South Carolina.
I'm a cat lover -- Artie, the mischievous Bombay kitty I rescued, is my only kitty at the moment. Fang, the Ferocious Feline, went to Pussycat Heaven in 2019 -- he was 16, and had a good life. Artie and I are doing some serious one-on-one bonding these days, especially when we take long road trips together. He's the best!
I own the following instruments (and can proudly say that I actually play most of them with some degree of proficiency):
16 dulcimers (but who's counting!)
2 keyboards
2 folk harps
2 melodicas
1 grand piano
1 classical guitar
1 accordion
1 acoustic upright bass
1 really cool-looking electric upright "stick" bass
assorted kazoos, nose flutes, spoons, a bodhran, and a 4-legged limberjack
There are no banjos in my house.
I own the following instruments (and can proudly say that I actually play most of them with some degree of proficiency):
16 dulcimers (but who's counting!)
2 keyboards
2 folk harps
2 melodicas
1 grand piano
1 classical guitar
1 accordion
1 acoustic upright bass
1 really cool-looking electric upright "stick" bass
assorted kazoos, nose flutes, spoons, a bodhran, and a 4-legged limberjack
There are no banjos in my house.
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