专辑简介

"This project started in 2006 as an effort to archive the stories of Dr. Paul Bierley, Sousa historian and biographer. Anyone who has listened to Paul talk about Sousa knows that he was an animated storyteller, gesturing as he spoke with a look of amusement-meets-contentment, and with a certainty that this was important stuff. If you listen carefully, you can hear the keys on his wristband while he gestured. Paul was correct, as we now know how important John Philip Sousa was in the early development of Wind Band repertoire. However, I wanted bring awareness to the fact that Sousa wrote more than just marches. The repertoire in the project was selected to expand awareness of non-march works, as well as to share the story of how Paul became interested in Sousa. He literally risked his life in grade school, staying home to hear Sousa on the radio before rushing to school. I don’t know if his parents ever found out he was jumping through moving trains to get there. Paul was our family friend and a band buddy of my husband Todd Cunningham, having shared many years in the Brass Band of Columbus low brass section. Through two decades of friendship, there were many stories shared over sub sandwiches, pizza and Coke. In 2006, we recorded him telling Sousa stories to the newly-established Ohio Capital Winds. While we did record the works, OCW was too new to have a budget, and we couldn’t afford a proper venue or recording engineer. So, we recorded the music in the “gymnatorium” at The Wellington School, using rudimentary recording equipment. The result was not publishable, as it was the only recording we could afford, but we had succeeded in archiving Paul’s stories! I vowed to re-record and publish it ‘someday, when we can afford it.’ Fast forward to 2018, we still couldn’t afford a proper venue, but thankfully, Thomas Worthington High School donated the venue over winter break. In the capable hands of Mark J. Morette, we laid down the tracks that we had laid down twelve years before, with a few of the same personnel. The repertoire focuses on Sousa as a world traveler and bridge to other cultures. Tales of a Traveler takes us to Australia, Europe, and South Africa, places where the Sousa Band toured. Dwellers of the Western World is Sousa’s musical depiction of the inhabitants of our own country. While the title of the individual movements may raise eyebrows today, they reflect the social context of 1911. This recording can serve as a catalyst for healthy discussion of history, and the lessons we can learn from archives. We elected to record Dwellers without repeats, which is likely how it was performed in the South, per Paul’s story about the southern audience’s tolerance for “highbrow” music."" Paul was our family friend and a band buddy of my husband Todd Cunningham, having shared many years in the Brass Band of Columbus low brass section. Through two decades of friendship, there were many stories shared over sub sandwiches, pizza and Coke. In 2006, we recorded him telling Sousa stories to the newly-established Ohio Capital Winds. While we did record the works, OCW was too new to have a budget, and we couldn’t afford a proper venue or recording engineer. So, we recorded the music in the “gymnatorium” at The Wellington School, using rudimentary recording equipment. The result was not publishable, as it was the only recording we could afford, but we had succeeded in archiving Paul’s stories! I vowed to re-record and publish it ‘someday, when we can afford it.’ Fast forward to 2018, we still couldn’t afford a proper venue, but thankfully, Thomas Worthington High School donated the venue over winter break. In the capable hands of Mark J. Morette, we laid down the tracks that we had laid down twelve years before, with a few of the same personnel. The repertoire focuses on Sousa as a world traveller and bridge to other cultures. Tales of a Traveler takes us to Australia, Europe, and South Africa, places where the Sousa Band toured. Dwellers of the Western World is Sousa’s musical depiction of the inhabitants of our own country. While the title of the individual movements may raise eyebrows today, they reflect the social context of 1911. This recording can serve as a catalyst for healthy discussion of history, and the lessons we can learn from archives. We elected to record Dwellers without repeats, which is likely how it was performed in the South, per Paul’s story about the southern audience’s tolerance for “highbrow” music."