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10 Aug 2017

Giles Farnaby's Dream Band ‎ "Giles Farnaby's Dream Band" 1973 UK Electric Celtic Folk Rock

Giles Farnaby's Dream Band ‎ "Giles Farnaby's Dream Band" 1973 UK Electric Celtic Folk Rock


“Giles Farnaby’s Dream Band make an entirely new medieval-electric sound. Formed by linking the medieval St George’s Canzona with the folk trio Broken Consort, the resulting band brings together early and present day instruments in imaginative and unique performances of some of the most tuneful and infectious music of all time.

“Most of the titles on this album are taken from ‘The English Dancing Master, published by John Playford, Britain’s first ever music publisher. The Tin Pan Alley of 1655 was situated near the Temple Church in London, and it was from a tiny shop near the church door that Playford’s publications were sold.

“The English Dancing Master or ‘Plaine and easie rules for the dancing of country dances, with the tune to each dance’ was first published in 1651, during the period of Oliver Cromwell’s Puritan Commonwealth. It was an austere time, with most of the old customs forbidden: dancing, profane singing, wakes, revels, ringing of bells, maypoles were all banned as dangerous to the security of the nation, and it seems a curious time to publish a collection of dance music. Playford’s own explanation was simple…’I publish this book lest the tunes be forgot’…

“The volume was immediately successful and went into several editions over the next twenty years (in fact it is still in print today). A possible reason for its popularity might have been that although Parliament abolished most forms of merry making, the Lord Protector himself seems to have enjoyed the occasional revel and given dancing a subdued show of approval…

“14th November 1657: ‘On Wednesday last was my Lord Protector’s daughter married to the Earl of Warwick’s grandson; and on Thursday was the wedding feast kept at Whitehall, where they had 48 violins, 50 trumpets and much mirthe with frolics, besides mixed dancing (a thing heretofore accounted profane) till five of the clock yesterday morning.’

“The first West End appearance of Giles Farnaby’s Dream Band.”................

Giles Farnaby was born about 1563, perhaps in Truro, Cornwall, England or near London. His father, Thomas, was a Cittizen and Joyner of London, and Giles may have been related to Thomas Farnaby (c. 1575-1647), the famous schoolmaster of Kent, whose father was a carpenter. But it was his cousin Nicholas Farnaby (c. 1560-1630), who may have turned him to music. Nicholas was a virginal maker, at this time a generic word that included the entire family of plucked keyboard instruments: the harpsichord, virginal, muselar and doubtless the clavichord, and it is for these instruments that Farnaby's compositions are best known. Like his father however, Giles trained as a joiner or cabinet-maker, starting his apprenticeship in about 1583, and gave this trade as his occupation for most of his life.

He married Katherine Roane on 28 May 1587, and first lived in the parish of St. Helen's Bishopsgate, in London. The couple had a daughter, Philadelphia, baptised on 8 August 1591, when the Farnabys moved to the neighbouring parish of St. Peter's, Westcheap, and later a son, Richard Farnaby (1594-1623). After Philadelphia's premature death, prior to 1602, the Farnabys had three more children: a son Joy (1599), a daughter, also baptised Philadelphia (1602), and a last son, Edward (1604).

In spite of his social background, hardly suited at this time to a university education, he graduated from Christ Church, Oxford on 7 July 1592, receiving a Bachelors degree in music.[1] This was the very same day that John Bull, his eminent fellow composer to be, obtained his degree: Bull evidently knew Farnaby, and influenced his musical style considerably.

In 1602 the family moved to Aisthorpe in Lincolnshire, where they remained until at least 1610. Farnaby obtained a position in the household of Sir Nicholas Saunderson of Fillingham, as music teacher to his children. By 1614 the Farnabys had returned to London, registered at Grub Street, Cripplegate in 1634, where Giles died in 1640 and was buried on 25 November.


Farnaby is considered one of the great English virginalists, together with William Byrd, John Bull, Orlando Gibbons, Peter Philips and Thomas Tomkins among others. Unlike them however, he is the only one not to have been a professional musician.

His best known works are included in the Fitzwilliam Virginal Book, which contains 52 of his pieces. Notable among them are 11 fantasias, a wonderful and technically demanding set of variations called Woody-Cock, and short but charming descriptive pieces such as Giles Farnabys Dreame, His Rest, Farnabyes Conceit and His Humour. There are also four pieces by his son, Richard. His entire keyboard works and a biography are available in a modern edition.

In addition to his keyboard compositions, Farnaby also composed madrigals, canzonets and

Giles Farnaby's Dream Band was a collaboration between the early music ensemble St. George’s Canzona, Derby-based folk group The Druids, and Trevor Crozier’s 'Broken Consort'. They were backed by three jazz musicians: Jeff Clyne (bass guitar), Dave MacRae (electric piano) and Trevor Tomkins (drums).

The album title is a pun on the piece ‘Giles Farnabys Dreame’ by the renaissance composer Giles Farnaby.

The album largely consists of renaissance dance tunes played on a combination of early and modern instruments. This prefigures some of the work later undertaken by the Albion Band and Home Service. It is chiefly notable for its experimental nature, demonstrating some of the diverse attempts at fusion at the time which resulted in subgenres such as folk jazz and medieval folk rock. It is most similar in its sound to medieval folk and progressive rock bands like Gryphon and Gentle Giant.[1] The rarity of the album has made it the subject of enthusiasm for some collectors.

The song ‘Newcastle Brown’ was subsequently released as a single (Argo, AFW112, 1973).

The album was reissued as a CD in 2004 (Walhalla, WH90324, 2004)

St George’s Canzona:
Frank Grubb – rebec, recorder
John Grubb – lute, harpsichord
Derek Harrison – rebec
John Lawes – crumhorn, recorder
Mike Oxenham – crumhorn, clarinet, curtal, recorders
John Sothcott – citole, crumhorn, rebec, recorders, whistle
Leila Ward – crumhorn, recorders

Trevor Crozier’s Broken Consort:
Trevor Crozier – vocals, banjo, cittern, guitar, harmonica, mandolin
Annie Crozier – concertina, bowed psaltery
Vic Gammon – concertina, guitar

The Druids – vocals
Judi Longden
Keith Kendrick
John Adams
Mick Hennessy

Jeff Clyne – bass guitar
Dave MacRae – electric piano
Trevor Tomkins – drums, percussion

A1 The Hare's Maggot
A2 Rufty Tufty / Beau Stratagem / Appley House
A3 The Hole In The Wall / Te Chirping Of THe Nightingale
A4 Pastime With Good Comany
Vocals – The Druids (6)
A5 Daphne / Nonsuch / Jack's Maggot / Childgrove
A6 Shrewbury Lasses
A7 Newcastle Brown
A8 Helston Furry Dance / Picking Of Sticks / The Butterfly
Vocals – Trevor Crozier
B1 The Indian Queen
B2 The Happy Clown
B3 Ratcliffe Highway
Vocals – The Druids (6)
B4 The Twenty Ninth Of May
B5 The Black Nag / Poor Robin's Maggot / Greensleeves
B6 Portabella
B7 The Draper's Maggot / Tower Hill
B8 Mr. Beveridge's Maggot / The British Toper / London's Glory

johnkatsmc5, welcome music..







Cassette Deck

Cassette Deck