110817afc1200(boucher).txt
Female Announcer: From the Library of Congress
Peggy Bulger:   >>Good afternoon everyone.
Welcome to the "Homegrown: Music of America Concert Series."
I'm Peggy Bulger, I'm director of the American Folklife Center
and we welcome you to this celebration of--
every month we feature a group of musicians and [or] dancers
from around the country that exemplify the very best
in traditional music and dance at the turn
of the 21st century, as I say.
These concerts are being recorded for our archive
and we're hoping that, you know,
at the turn of the 22nd century people will be amazed at the kinds
of creativity and artistry that was going on in America at this time.
So, since this is being recorded, I just want to remind you
to please turn off your cell phones so that you won't be immortalized
for another century with your ringtone [laughs].
>>We are very pleased that this series is co-sponsored
by the Millennium Stage at the Kennedy Center.
And so that if you like what you hear today,
I want to encourage you-- and tell your friends--
to go over at 6:00 tonight to the Kennedy Center.
On the Millennium Stage our group will be performing there also.
And so in this way we really try to feature our musicians in more
than one venue in the D.C. area
since usually they travel from quite far away.
>>Today we're really, really happy to have French-Canadian music
from Connecticut, from New England, which is a hotbed
of music as many of you know.
You might have known that old-time music
and French-Canadian music have a long
and illustrious history in that area.
We have a special group that will be not only performing music,
we'll also have some step dancing.
And so it's a very unique form of dancing.
It's related to many of the other stepping dance forms
but still has its own flavor.
>>We at the American Folklife Center actually have several collections
already that feature French-Canadian and Franco-American music.
In fact we have copies of recordings that were made
by the anthropologist Marius Barbeau at the turn of the 20th century
on wax cylinders and on disk recordings.
We have Acadian music recordings by Helen Creighton and Laura Boulton
who are also renowned anthropologists and folklorists.
And then we have more recent recordings that have been made
in Illinois, Indiana, Michigan and Wisconsin,
all of French-Canadian and/or Franco-American music.
And this concert today will be a wonderful addition
to our collections because is feature New England
French-Canadian music.
And in order to introduce the music and the traditions to you,
I want to welcome to the stage Lynne Williamson
who is the state folklorist of Connecticut.
She works for the Connecticut Cultural Heritage Arts Program.
So please help me welcome Lynne.   [Applause]
Lynne Williamson:
>>It's really great to be back here again, and that you very much Peggy.
For the last eighteen years it's been my job and my joy to locate,
document, and assist the wonderful traditional artists of Connecticut.
Among my very favorite artists is fiddler Daniel Boucher
from the very large French-Canadian community in Bristol, Connecticut.
>>I first heard Daniel play in 1998, when he was just 18 years old.
But it was clear that he had virtuosity and a love for the music
that promised a great future.
Daniel lives and breathes his heritage.
He has put a spark into the French-Canadian community and music
in Connecticut by organizing very popular fiddle jams
and community celebrations that bring together musicians
from all over New England.
Today, he's here with friends Rey Pelletier, George Wilson,
and Glenn Bombardier to offer you a French-Canadian soiree
in the afternoon.
Please welcome Daniel Boucher and Friends.
[Applause]   Daniel Boucher:
>>Bonjour, como se va?   Audience:
>>Bonjour.   Daniel Boucher:
>>Oh boy. Well, it's all thanks
to Lynn Williamson that we are here today.
She's helped me out a lot over the years in getting all of these grants
from the state of Connecticut that have made me connect with a lot,
a lot of very good people, very nice people and very talented people.
So, thank you, Lynn Williamson, for this opportunity
and we are all honored to be here today, so thank you.
>>All right.
Well, we're going to start off with "Isadore's Reel."
"Isadore's Reel" comes from--
for me, a lot of musicians have played this, but for me it comes
from recordings that I grew
up listening [to] that were my father's.
My father is also a harmonica player and accordion player
and he had a small collection that I used to go
into when he left the house so that I could amuse myself and listen
to some really good music.
So, this comes from a Simon St. Pierre recording from up
One, two, three, four.   [Music]
[Applause]   Daniel Boucher:
>>Whew. Thank you, thank you very much [laughs].
Well, this is another tune--
our next tune that we're going to play is called "Gaspe Reel."
And "Gaspe Reel" is one of the many standards that all
of us have grown up listening to.   >>And over the years I came across--
I was introduced to a family that came from Vermont.
And they actually-- they moved around and [for] a good portion
of their life they situated themselves in Burlington, Vermont,
and it's La Famille Beaudoin, the Beaudoin Family.
And, thankfully, next to me here is Mr. Glenn Bombardier [who] is a
Beaudoin, he is the grandson of Louis Beaudoin
who was a very known [sic] a very well-known fiddle player
from Vermont.
And actually in 1976 he was here in Washington playing the fiddle
for the inauguration of Jimmy Carter.
So it's fantastic-- Louis hasn't been with us for a very long time--
and I'm glad to have Glenn join me here today.
And this, the way that we're going to play it today is
from La Famille Beaudoin.
And "Gaspe Reel" is going to be split with another tune,
"Money Musk" a portion of that tune in the B part--
so a little twist to it Beaudoin style.
George Wilson:
>> I learned these tunes from Glenn's grandfather's records.
And I met Louis in 1976 when he was here
at the [Smithsonian] Folklife Festival.
That's the only time that I met him but I'm fortunate to play
with their family every once in a while.
It's a lot of fun.   I'm George over here by the way.
[Laughter]   Glenn Bombardier: And I'm Glenn.
I actually was six years old when my grandfather died
so I really didn't get a lot of opportunity to play with him--
actually I didn't play with him at all.
But obviously he had a huge influence on our family
and on everybody here so.   George Wilson:
>>And that's his fiddle right there.   Glenn Bombardier:
>>Yes it is.   Daniel Boucher:
>>Louis Beaudoin passed away too young in his late-50s in 1980.
And that was three months before I was born
so obviously I never got a chance to meet him either.
So, but it's fantastic that I came across the family.
I grew up with French-Canadian music and it's fun to be
with other families that grew up with music
and his whole family was all in this, la famille Beaudoin.
It started with his father and his uncle--
two brothers, and then their children, let's hope that they--
grandchildren too, right?   Some grandchildren are in it.
So here we go.   Glenn Bombardier:
>>Right, yes, exactly.   Daniel Boucher:
>>It's a real interesting story.   So here we go.
"Money Musk" is going to be three or four?
Daniel Boucher: Ready?   [Music]
[Applause]   Daniel Boucher:
>>Thank you very much.   George Wilson:
>>He sweats a lot.   [Laughter]
Daniel Boucher:   >>Thank you.
That would explain this [laughs].   All right.
Well. I'm going to do a song for you guys.
It comes from the collection that my father has
of La Famille Soucy-- the Soucy Family.
Daniel Boucher:   >>And a, wait a second.
I like to do funny songs because I'm a not too serious person
and I enjoy laughing [and] good jokes.
And I know that a lot of you guys do as well.
>>This is a song about a man and his travels.
A very old song about a man and his travels with a load of whiskey.
And he's going down the road with his load of whisky.
And he comes across a road [sic]comes
across on his road a young beautiful woman.
And things magically start happening, obviously.
And a she would like to kiss him and equally accepts her kiss.
Time goes on and she brings him home to her family.
Introduces him to everyone, introduces him to her grandfather.
And her grandfather afterwards tells her: "Hey, this might be the one.
You might want to ask him to marry you.
And a, so she tried and she tried but he wasn't ready.
And he ran off in the other direction.
And that's the whole story.   [laughter]
>>How do you like that nice little build up
and then the drop off the cliff?
>>But the interesting part of this song--
that was interesting until to [gestures hands] it got kind
of boring [laughs].
Happens every time when I try to explain it.
But that is the song, literally.
The interesting part of the song is as he's
in his travels he's doing all of these sounds with his mouth.
And this is a song that I've been doing everywhere.
And I'll do it-- I'll show you all this part.
And if you feel free to do it while I'm singing it will help me
out as well.
These guys are too shy to join me so I'll be doing it alone up here.
But the-- he's doing four sounds with his mouth.
And the first sound is the snort of a pig followed by a hmmm [snorts
like a pig, then says hmmmm].   [Laughter]
>>Yes, it's going to be one of those songs, so.
[Laughter]
>>Let's hope that the lights don't show too much here.
But, so you have the pig [snorts], hmmm, and then you have--
I don't know why every time I have
to do the whole sequence I can't remember individual sounds.
The next one is the sound of a duck [makes noise].
So it's the top of my mouth going [snorts] and the sides
of my mouth going [makes duck sound].
Now the third sound, we're going to leave it as--
and this was a friend of mind who helped me put it this way--
the sound that happens when we're all sitting at the table
and you reach for the ketchup bottle that is near the end
and you're the one that it makes that noise
for [makes flatulence sound].   [Laughter]
>>So we're going to pretend
that it's the ketchup bottle and nothing else.
[Makes the litany of sounds] All eyes are on you and you swear it was
that ketchup bottle, you hope it was that ketchup bottle [laughs].
>>So the last sound is the sound of a bird [whistles].
[Makes the litany of sound] just like that.
[Laughter]
>>So-- and a lot of people think it's difficult but it's just
like that, those four sounds [makes the sounds].
So now you know it so I want to year you guys.
So here we go "De Retuour de Rigolet" "Coming Back from Rigolet."
[Music]   [Applause] Daniel Boucher:
>> Thank you.   Daniel Boucher:
>>For those in the front row we forgot to put
up the plastic like a Gallagher show.
[Laughter] Daniel Boucher:   >>I hope it wasn't too bad.
[Laughter]   Daniel Boucher:
>>All right.
Growing up in Bristol, Connecticut, that's where I was born and raised--
I had first joined-- growing up I played music with my father.
I played spoons first and from that I moved on to learning fiddle.
At the age of 12 I had joined a local folk orchestra
which was the Connecticut's Bristol Old-Tyme Fiddlers.
And a lot, a lot of good, good musicians together performing--
performances all over the state of Connecticut.
And that's when my father decided we'll join them.
A little after that we meant somebody in there,
a fiddler who was becoming a fiddle teacher.
And that's where I started playing fiddle.
And way back then is when I met Rey.
>>We've known Rey Pelletier for quite some time.
And he too has an interesting story.
He comes from a family of musicians--
siblings, his father was a fiddle player.
He was in the Bristol Old-Tyme Fiddlers, I remember him.
He's since passed, but a phenomenal fiddle player.
And did you have uncles who played as well?
Rey Pelletier:   >>Oh, yes.
Daniel Boucher:   >>And how about your grandfather?
Rey Pelletier:
>>My grandfather, uncles, a lot a lot--
the whole family played except my mom.
Daniel Boucher:   >>Except your mom.
She had to put up with everybody else, right?
[Laughter]   >>But she sang.
His parents sang as well complaints--
what they called in French these sad songs or mournful songs, I suppose.
And he's shared wonderful recordings with me of his parents.
And with the help of technology I've updated his recordings for him
so he can have them and give them to his kids and grandchildren, so.
I'm glad to have met Rey and ever since not only
with the Bristol Old-Tyme Fiddlers but on the side my father and I
and Rey have played music a lot of places.
So, and again today.
And it's my honor to have him with me-- with us, today.
So we're going to let Rey do a tune "Boil them Cabbages Down."
>>Thank you.   [Music]
[Applause] Rey Pelletier:   >>Thank you, thank you.
Rey Pelletier:   >>Thank you, I appreciate that.
That was very nice.
Now I'm going to play a tune that my father did.
He was working, he was out in the field and he was humming something
in his head and he came home, picked up his fiddle, and played it.
And nobody else that I know plays it.
Because we live in a little place
that was called Michigan he called it "The Michigan Reel."
[Applause] Rey Pelletier:   >>Thank you, thank you.
Daniel Boucher:   >>Very good.
Thank you.
That's a very fun tune, a very fun tune
that I've gotten the chance to learn from Rey, so.
I thought it was special that we play it today.
>>All right.   Next is a tune that I composed.
That you George?   George Wilson:
>>Yeah, I kicked my foot mic.
With a foot mic I guess that's what you do.
Daniel Boucher:
>>[Laughs] This Tune is called "La Marionette."
I called it "The Marionette" because to me it sounds
like a little was dancing and mathematically for those
who really know their music it's actually a very interesting piece.
Some else had to discover that for me
because all I do is pick up my fiddle and play.
And I was noodling and I came up with this tune and it's interesting
that the measures are different, hmmmm George Wilson:
>>Lengths.   Daniel Boucher:
>>Lengths, thank you.   [Laughter] George Wilson:
>>It's a highly technical term I guess,
that's the best that I can do.   [laughter] Daniel Boucher:
>>Yes, different lengths and at the end it comes to the length
and timing that it should be, something like that.
George Wilson:
>>Yeah right, like thirty-two measures.
Daniel Boucher:
>>I told you, all I did was pick up my fiddle and come up with this tune
and someone else who's a lot more patient
It's a very special tune, "La Marionette."
[Music]   [Applause]
Daniel Boucher:
>>Count yourself fortunate that you guys stayed dry [while wiping sweat
from his brow -- laughter]   >>All right.
The foot taping-- is anybody familiar
with French-Canadian folk music here today?
A little bit, yes?   That's a good show of hands.
The foot-tapping that we do just comes from tradition.
A lot of the musicians were simple workers
in their everyday life-carpenters, this and that, and lumberjacks.
And they would go off in the wintertime and go to the camps,
the logging camps, and bring their instruments
with them [and] do a long day of work and at night it was party time.
At night it was take out the instruments, let's have some fun
and there weren't any drummers, like modern bands.
So the foot taping from the Canadians, [taps his foot as if
to a beat] it's not just keeping the beat [begins double tapping] it's
sort of like a horse galloping.   And that's how they did it.
And when they had to play, just alone,
they would keep their beat with that.
And there's variations, all sorts of different combinations.
And there's also clogging for jigs
and so I just thought I'd share that with you guys.
If you guys were curious as to what we're doing with our feet
and the importance of that-- it's part of tradition.
And it's a lot of fun.   It's a cardio-exercise as well.
It's very good for your internal and external obliques, you know?
[Laughter]   >>It does-- sweating ensues.
So it's good all around [laughs].   >>All right.
Well, a lot of fiddlers that I grew up with like to play fast stuff.
And it's very rare for your average fiddle player to do waltzes.
So I didn't grow up with many waltzes myself.
And what happens is, is you enjoy the fast stuff and you don't sound
so good when you start playing slow stuff so you shy away from it
and just do the stuff that you're good at, right?
We all do the same thing.
So, but we have a waltz for you guys today.
And this is a waltz that I learned from collections
of my own called "The Unknown Waltz."
And as far as the artist it might be Senor Swaraz [phonetic spelling]
or something like that, Senor Swaraz.
What a name, right?   "The Unknown Waltz."
George Wilson:   >>That's what it's known as.
Daniel Boucher:   >>That's what it's known as.
[Laughter]
>>I learned over the years when I started composing stuff
that I thought there was a whole technique to naming tunes.
You hear all these tunes like "Michigan Reel"
and "St. Anne's Reel" that we're playing later,
and St. Antoine and this and that.   When I started composing on my own,
in my head I knew it's that one and that one.
And people said, "What is that?"   And, I don't know.
I gave up thinking that there was a whole theory to naming names
because it really wasn't
that important you just gave it something to remember.
George Wilson:   >>Like a catalog number.
[Laughter] Daniel Boucher: This is number 3,004.
But I've got stuff-- "Organic Beef Reel" [laughter]
and "Mashed Potato Reel."
That's because that's what was for dinner that night.
So I'm composing in my kitchen,
so,"The Unknown Waltz" isn't that far off.
It's a good enough name for it.   [Music]
[Applause]   Daniel Boucher:
>>All right.   A good segue into the next tune.
One of my compositions that I call "Surprise Reel"
"Enrouleur Surprise" it sounds so much better when I say it in French.
"Enrouleur Surprise" is good, beautiful, huh?
[Laughter]
>>It just happens to have an interesting B part
and I was surprised every time I got there,
so "Surprise Reel" is good enough to remember.
We're going to roll that with how impressive is this for a name?
"Reel in G" [laughs].   George Wilson:
>>It's highly descriptive.   Daniel Boucher: With a G Cord.
And this comes from Glenn's grandfather's repertoire,
"Reel in G" for golly, or gee wiz [laughs].
[Music]   [Applause]
Daniel Boucher:
>>Boy, I told you, it's the whole cardio the whole body
and nothing is missing.   George Wilson:
>>All right.   Now you have to get up and sing.
Daniel Boucher:   >>I know, I know.
Glenn Bombardier:   >>Don't hurt yourself [laughs].
Daniel Boucher:
>>I know, I know, I'm just stretching out my legs.
Here's a song I learned
when I joined La Famille Beaudoin up in Vermont.
And this is actually a song that Glenn's mother and his--
actually all of Glenn's aunts.
Louis Beaudoin had five girls, five girls and one bathroom, I think.
George Wilson:   >>Yeah [laughs].
Glenn Bombardier:   >>That poor guy.
Daniel Boucher:   >>Poor guy.
Test of patience.
I don't think that would fly today in 2011 but five girls, wow.
So, they're all musicians.
And Glenn's mother and one of his aunts--
Nina, Carmen and Nina usually sang this
and actually it comes from Louis Beaudoin.
Louis use to sing this to his children, right?
To the girls?   Glenn Bombardier:
>>That is correct.   Daniel Boucher:
>>And it's a story-- the name is called "La Ambitieuse."
And I asked permission to sing this today and they gave me the big stamp
of approval and they're honored to have me sing this--
[Off camera on stage foot stomp]--
[Boucher stomps his foot in reply] the big forever stamp or approval.
And it s a very funny song.
And its called "La Ambitieuse" which is a, it's a woman,
la ambitieuse, who limps.
So she limps, she's got one leg shorter than the other.
And she's going to the market and she has a basket on her heard.
And she goes to the market and she picks up an item, she first picks
up an egg and she puts it in her basket.
And she's limping to the next vendor and she goes and gets a chicken.
And she grabs a chicken, a live chicken, and puts it on her basket.
And she goes a little bit farther and she picks up a cat.
She's not eating all these, obviously she's not eating the cat.
She's going to probably do something with the chicken and eat the egg
but the cat she's just going to use as a companion.
She put that in her basket and she goes
down the road a little bit more and she picks up a dog.
Puts that on there.
You can imagine that it's not a small basket.
And the last item she picks up is a whole cow and she puts it right
on top of all the rest so that you can't see them all [laughs].
So, and you'll hear the different sounds as we get
to the different animals.   Like I said, I like funny songs, so.
[Music]   [Applause]
Daniel Boucher:
>>So please feel free to bring those home to your kids [laughs].
Share that with them and give them lots of laughs as well.
George Wilson:   >>Yeah, put them all in your hat.
Daniel Boucher:   >>Should they go before the cow?
Or, hop on top of the cow [laughs]?   George Wilson:
>>Sure.   George Wilson:
>>Okay. Here's another tune from Louis Beaudoin.
Daniel Boucher:
>>By the way hold on, let's but some brakes on this show.
Monsieur George Wilson over here.
[Applause] If none of you know him he's an exceptional fiddle player
in many styles and a very good friend of ours.
And I'm honored to have him join us today.
He's kind of the black sheep there on the left-- on your right.
He's got a very interesting fiddle and some of you,
if you're musicians, know exactly what that is.
At a glance it sort of looks like the texture of a seat belt.
But it's actually carbon fiber.   George Wilson:
>>Yep, I could play it out in the rain if I wanted to
but it's not raining and I don't want to so.
There you have it.   [Laughter] Daniel Boucher:
>>Yes, and you could row a canoe.   George Wilson:
>>Yes, you could do that.
And you could mush vegetables up with it.
Daniel Boucher:   >>You could.
A julienne slicer with the strings.   George Wilson:
>>But I like to just play it as a fiddle myself.
[Laughter] Daniel Boucher:
>>A very beautiful instrument, loud sounding,
fairly affordable, and a-- George Wilson:
>>Somewhat affordable.   Daniel Boucher: Somewhat affordable.
George Wilson: It depends.   Daniel Boucher:
>>You sort of have to sale a child of your
to get one-- no, it's not that bad.   [Laugher] George Wilson:
>>Sale your cat.   Daniel Boucher:
>>Sale your cat.
There you go, there you go, a carbon fiber fiddle.
George Wilson: Yep.   Daniel Boucher:
>>This is going to be "The Grand Change" "La Grande Change"
which is actually a dance move.
If anybody counter dances La grande change is when they do a full circle
with a left hook and a right hook and a left hook and a right hook
as they work their way around, if I'm correct, right?
George Wilson:   >>Sounds good.
Daniel Boucher:   >>Sounds good to you?
So, and this comes from Louis Beaudoin and shared
to us [sic] by his family.
>>That's not how it starts, we're just warming up.
George Wilson: [Laughs] We're all in tune.
[Begins tapping his feet]   [Music]
[Applause]   Daniel Boucher:
>>Thank you.   All right.
Do you guys like French-Canadian music?
[Applause]   Daniel Boucher:
>>There's a lot of great music out there in all the genres.
And French-Canadian music-- because it's what we grew up with--
is really important to us and is very happy, positive music
and there's just something about it.
We certainly can't sit still, we love French-Canadian music
and we're glad [that] you guys like it as well.
>>Yes, another song from me.
And then we have a special, finishing song for you guys.
George Wilson:   >>Finishing tune.
Daniel Boucher:
>>Yes. I might do this one sitting down.
This is a song that's kind of funny [laughs].
That's a disclaimer, "kind of funny."
Growing up and even now days around Christmas time,
I think it's the whole month of December, for us here,
and for any of you who are musicians,
your music for you is 24/7 all year around and it is for us.
In Canada the folk music isn't year
around for the majority of the population.
It's only around Christmas time.   So a lot of the music that we play--
people who don't know it that well will associate it
with Christmas time and the parties for Christmas and New Year's [Eve].
New Years is tremendous, it's huge up in Canada
for the families to get together.   And a lot of these tunes are played
on the radio all throughout the month.
And this is one that I grew up listening to,
and I liked and I learned.
And found out afterwards that my grandfather wasn't a musician
but I guess he would like to sing when the house parties happened
at his house, this is my mother's father.
He actually sang this song.
And then meeting up la famille Beaudoin,
Monsieur Louis Beaudoin use to sing this too.
So it's a very cool connection and it's a simple song and it's called
"La Rapide Blanc" which is "The White Rapids."
And "Le Rapide Blanc" is a story about ah,
this time its about the woman.
She's living on this path that all the guys are coming through.
And she happens to be the one that everyone visits I suppose [laughs].
I don't know, it's not in the song.   [Laughter]
>>That's all subliminal.   George Wilson:
>>Read between the lines.   Daniel Boucher:
>>Read between the lines.
Maybe she has good bread, I don't know.
Meat pies or crepes.   But its' right there.
It's like the tavern that they stop at, so.
The first gentlemen stops in and says--
well this is a story about one gentleman who stopped in.
He'd like a place to warm up.
And she says, "Oh sure come in and warm up."
And they all come in and warm up and then they go.
And then he's all warmed up at this point and he's looking
for something else so he says, "Could I hug you?"
Or, "Could I kiss you and embrace you?"
And she says "okay" and they all come and kiss me
and embrace me and then they go.
And then he's getting tired at this point and he's looking for a place
to lay his head, and she says "they all come
and lay their heads and then they go."
And what else happens?
That's like the whole story they all come and then they go.
[Laughter]   >>Another cliff hanger.
I should work on these.
In French I guess that doesn't matter.
As long as it sounds good,
it's poetically written and this and that, so.
"Le Rapide Blanc."
And then she tells him to "leave, just leave."
She tells them all the "just leave."   That's what it is.
>>Do you want to sing it George?
[Music]   Daniel Boucher:
>>It's a tongue twister.   [Applause]
Daniel Boucher:
>>For the next time I'll work on getting these guys to sing with me.
George Wilson:   >>Good luck!
Daniel Boucher:
>>It's very easy to hide behind your instrument.
And it's very nerve-racking
to actually share your voice with others.
And when you have a carbon fiber [violin] you hide in the shadows.
[laughter]
>>This is actually going to be out last number.
George Wilson:   >>Our last hurrah.
Daniel Boucher:   >>Our last hurrah.
And we've been glad that you guys have stuck around and come out today
and given us your time to come and listen to us.
I hope that you guys have enjoyed us.
[Applause]   >>Thank you.
And we certainly want to thank Lynne Williamson for making this possible
and everybody else behind the scenes here.
This last tune-- it's going to be a set of tunes.
And we're going to start off with one called "Circular Reel" go
to "St. Antoine's [Reel]" and then we're going to go
to "St. Anne's Reel"-- something we've all heard growing up
and maybe we're going to have a little surprise for you guys.
George Wilson:
>>We can just call it "When the Saints Go Marching Out."
[Laughter] Daniel Boucher:
>>This first tune is one that I composed and it's kind of one
of my big hurrahs for me.
It's actually on two albums [by] friends of mine
and it's being played internationally
for at least two years now and it's played at jam sessions
up in the Montreal area and people are really crazed about it.
And it's a real honor for me.
I haven't produced an album yet but it certainly is around the corner
in my thoughts and to have somebody interested on some
of my compositions is quite awesome.   George Wilson:
>>It's your greatest hit.   Daniel Boucher:
>>It's my greatest hit.   My one piece wonder [laughs].
All strings.   George Wilson:
>>A whole bunch of them.   Daniel Boucher:
>>And none are attached, just kidding.
George Wilson:   >>Sixteen strings attached.
Daniel Boucher:   >>Want to count us in George?
George Wilson:   >>Sure [begins tapping his feet].
[Music]   Daniel Boucher:
>>And by the way, he step dances [laughs].
[Applause]   >>Thank you very much.
Thea Austen:
>>A big "thank you"-- Daniel Boucher, Reynold Pelletier,
George Wilson and Glenn Bombardier.   [Applause]
Thea Austen:   >>One more?
Daniel Boucher:   >>Shall we do all fiddle?
No? What would be a good one?   George Wilson:
>>What do we all know?   We didn't rehearse an encore.
We could always play four different tunes at once
that would be real efficient.   [Laughter] Daniel Boucher:
>>Let's do "Joys of Quebec" which is not to be confused with "Joyce
from Quebec"; "Joys of Quebec."   That's one of George's many jokes.
George Wilson:   >>Like "Jaws of Quebec."
[Laughter] Daniel Boucher:   >>He's always a trip to have around.
We're going to have a third part in it.
These two don't know about the third part but we play often together
and they'll know it in a few minutes.
[Applause] Daniel Boucher:   >>Thank you very much.
Thea Austin:   >>Daniel Boucher and Friends.
Female Announcer:
>>This has been a presentation of the Library of Congress.