CyberTrad is here…

•August 11, 2016 • Leave a Comment

Yes, yes, y’all… My first independent solo project is coming out this fall! CyberTrad features traditional and original Irish and Breton music played on wooden flute, bass, vocals, and human beatbox. More info is available at

The official CD release is November 18th. Stay tuned for info on the gigs…


Kickstarter Countdown

•June 27, 2016 • Leave a Comment

Hi Folks,

As of this writing, there are just over 5 hours left of the CyberTrad Kickstarter, so don’t wait, pledge to back the project and reserve your copy of the CD! Many of you have already pledged, and for that, you have my thanks. At this point we have met our goal, so the CD production is funded! Any additional money raised will go towards publicizing the CD, and if possible, I’d love to hire a publicist to promote the album. A backer had offered to match pledges up to $500 in these last hours, so your precious dollars can go further towards making sure people hear this music. In the meantime, thanks  for your support, and thanks so much to all those who pledged! The Kickstarter is here:






CyberTrad Kickstarter

•June 6, 2016 • Leave a Comment


Hello Friends! At long last, CyberTrad, my first self-produced/solo recording project (with some amazing musical collaborators) is nearing completion. Here’s a little taste, and for those who would like to preorder the CD and support the project, we are live, so you can head on over to Kickstarter:

And the winner is…

•April 10, 2016 • Leave a Comment

Pleased and proud to have won second place in the D&E Poetry Contest. I submitted the following, written around 2001 after a week at Common Ground on the Hill…

Bear Lake

on the steps

the nights is passing away into dawn

the first spikes and feathers of blue light are painting the trees

slow calligraphy on the ancient bark

the towering shapes leap out in piercing contrast

cut from a page with the sharpest scissors.


the world is birthed in a swift movement

slipping into existence with a wet yelp like a newborn

to find the trees dripping with dew

the lanterns are wreathed in mist;

yellow staring eyes.


on the breaking edge of this emergence,

the sound of your voice enters my head like the wide-eyed stare of a child

calm and measured

a night bird beckoning from the darkness

tearing at the fragile fabric of my dreams with talons of ice and shadow.


the banjo rings like a church bell, painting your voice in swirling watercolors

it’s rhythm undeniable and persistent.

and as you play, I am struck by the slow fusion of player and instrument

your slender form rocking in time with the music

the boundary between your fingers and the neck is blurred into oblivion


the ship strains in her moorings,

ready to be away on the swell of the ocean current

and your fingers touch the strings

plucking from the depths of the water, things like fish with scales made of silver


I can see you sitting by the shore, spray catching in your hair

seaweed clinging to the smooth boundary of your cheek

the sound of your voice rising and falling with the waves.


and I as a water bird, wings ill suited to flight

webbed feet accustomed to the blue resistant thrum of the sea,

halting in my fluid path

bobbing in the tide, frozen by your laughter.


on the steps of the church

the night has passed away into dawn

the trees are revealed in their milky azure robes

and I have been cut

running with scissors


•September 7, 2015 • 2 Comments

Very excited to announce a new musical project…


CyberTrad is a musical experiment that combines melodic sensibilities from traditional Irish and Breton music, and blends them with rhythmic elements of contemporary Quebecois, funk, and Hip Hop. The project features Matthew Olwell on flute, vocals, and percussion, Dominic “Shodekeh” Talifero on human Beatbox, and Aimee Curl on vocals, and Simon Lapage on electric bass. I will also be including a few of my new original compositions, so, you know, that’s kind of exciting.

There will be shows and workshops in Washington, DC on 11/21 and Charlottesville, VA on 11/22. For details stop by the event page. From there we go straight into the studio, where the inimitable Joebass Dejarnette will act as engineer for the recording. The debut CD (my first “solo” project) will be out in summer of 2016 (God willin’ and the creek don’t rise) so stay tuned!

Lilting + Beatbox = ?

•August 13, 2015 • 1 Comment

I have been fascinated by lilting and other “mouth music” traditions for as long as I can remember. A while back, I started wondering what Irish music and lilting would sound like with beatbox as the rhythmic accompaniment (more on that later.) Rhiannon Giddens was the first person I actually heard doing this to great effect with Adam Matta. I was recently asked to join EMBODY Lab, a series of musical experiments curated by Sho’dekeh Talifero. The result was the opportunity to make some really exciting music with some fantastic folks. Skip to 1:00 and 6:14 for the fun parts.

(Note: Tunes sourced from Are Re Yaouank, Benoit Benoit, and 30-some years of sessions.)

Happy Birthday, Jimmy

•October 2, 2014 • Leave a Comment

Smooth Operator: Jimmy Slyde

Born James Titus Godbolt, “Jimmy Slyde” (1927-2008) is a legend both in and out of the tap community. Early in his childhood, Slyde’s family moved from Atlanta to Massachusetts, where he began dancing at Stanley Brown’s studio. He is said to have learned how to slide from his teacher, Eddie “Schoolboy” Ford. Early in his career, he joined forces with Jimmy Mitchell (who went by the stage name “Sir Slyde”), and the two performed for a time as The Slyde Brothers.

Remembered as a consummate performer and a tap dancer’s tap dancer, Slyde appeared with many jazz-era greats, including Count Basie, Duke Ellington and Louis Armstrong. He and some of his contemporaries embraced the new sound of bebop in the 1940s, and even as this emerging musical style in some ways turned away from its historical connection to social dance, Jimmy threw himself into interpreting the looser, manic energy of the new sound of jazz. It is ironic that, like bebop music, tap from this era was just coming into its own and flourishing artistically, even as audiences turned to new forms of expression. Slyde, like many of his contemporaries, found work hard to come by, until the tap revival of the 1970s and 80s. In a way, it is to this period, and to his frequent teaching and performing on the tap festival circuit, that the high regard in which he is held within the subsequent generations of dancers can be traced.

I was lucky enough to see Slyde perform in the late 1990s, and I remember being struck by his signature style, which, as impressive as it is on film, was even more impactful in person. He barely seemed to touch the floor, and when he did, it was with a controlled attack who’s delicacy belied its power.

He is, to me, the perfect combination of elements in a dancer. He has showmanship for miles, but it is understated, and he doesn’t get in your face with it, merely dances and shows himself honestly and simply. He is an amazing technician, and never seems to miss a beat, but the technique quickly disappears and you just see this graceful, musical movement. He is not just moving, he is in his own words “painting pictures” which seem to leap out of the floor and into the air fully formed. It all comes together and you feel, watching him, like you are just sitting down with him and listening to him talk.


His signature slides (from which he took his name) are, as anyone who has tried them can attest, not as easy as they look. I have heard dancers trying to deconstruct the precise combination of physics that goes into such a smooth, graceful movement. Momentum, inertia, gravity, friction, all have to work together, and Slyde must have practiced hour upon hour to perfect the elements that he makes look as easy as breathing.

Beloved still, Jimmy is often cited in classes I have taken when a teacher wants the students to “smooth it out.” He remains one of my biggest tap heroes, and I am sure I am not alone remembering him as a superb dancer, musician, and artist…

Happy Birthday, Jimmy.

(Note: this post was originally written in Baakari Wilder’s tap class at Montgomery College, Rockville, in May of 2013. Each week, students were required to write a short paper about a different figure from tap’s history. I waited carefully until I was ready to write about one of my very favorite tap artists, Mr. Jimmy Slyde.) 


Tap Dancing America, Constance Valis Hill, 2010

“Jimmy Slyde Taps on George Benson’s Guitar,” YouTube,

Retrospective, New York Times, Claudia La Rocca, 2008