Recordings
Washington Traditional Fiddlers Project -- Vol.II

Generations and Communities of
Fiddlers in Washington
by Stuart Williams

The first fiddlers in Washington state were among the Scottish and French Canadian fur trappers of the early nineteenth century. Successive waves of immigrants included many steeped in Scandinavian, Canadian and Midwestern fiddle traditions. Styles mingled together as they traded tunes at logging and mining camps and at dances in school houses, and at farm gatherings.

Volume I of this series features the senior generation of traditional old-time dance fiddlers who learned to play in the 191Os - 1930s from family and at local community dances.

Volume II showcases several generations of Washington fiddlers. This includes: senior traditional dance fiddlers; second generation Northwestern fiddlers; performers of Swing, Texas, and progressive styles and fiddlers from the folk revival generation. This compilation is from field, concert, and studio recordings.

The senior traditional dance fiddlers learned their art as one learns a language, absorbing the melodies, rhythms, and the distinct enunciation of a phrase evolved through generations of musicians. They play music adapted to and honed by the dances of the local community. Couple dances such as waltzes, schottisches, and polkas were popular along with square dances.

As times changed and other forms of dance and music eclipsed community country and square dances, other outlets for fiddle music emerged. In the late 1940s and early 1950s, square dance clubs formed. Marty Dahlgren, featured on this recording, played for many square dances at the Aqua Barn, a floating dance hall on Lake Union in Seattle. Marty and others of his generation also found fiddling opportunities playing Western Swing, Bluegrass and Country music.

Realizing that the older styles and tunes were not being passed on, musicians such as Don Gish, Charlie Flynn, and Vivian and Phil Williams came together and formed the Washington Old Time Fiddlers Association. To preserve and promote old time fiddling, they began sponsoring shows and contests in the early 1960s. Fiddlers of diverse backgrounds came together and competed, jammed, and shared tunes in a congenial, family-oriented environment. Here, many young fiddlers have been inspired by a rich variety of traditional Western, Canadian, and progressive or Texas-style fiddling.

At college campuses, coffee houses, and folk festivals of the 1960s a new generation, largely from the cities and suburbs, began discovering folk and homemade music. Many gravitated toward traditional fiddling. In the Northwest, some sought out the local old time fiddlers and became deeply involved in the regional traditions. Others focused on the long standing fiddle traditions of the Southern mountains, the Scandinavian countries, and Ireland. These new enthusiasts researched the archives and record collections and travelled extensively in search of the music. Along with an increased interest in fiddling came a revival of square dancing and New England contra dancing to live music. Some from this generation are now widely recognized as among the best in their genre.

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