Tony Gillam is a Worcestershire-based writer, musician, mental health nurse and senior lecturer. For many years he worked as a mental health nurse and now teaches mental health nursing part-time at the University of Wolverhampton.
Tony told me a bit more of his musical background:
I play guitar and mountain dulcimer as part of indie-folk duo Fracture Zone. I've been playing dulcimer, on and off, for over 30 years so I should be better at it than I am! When I'm not playing as part of Fracture Zone, I perform solo and, last year, released a solo album called Lazy Oceanography. I've also been known to teach beginners' dulcimer workshops and run improvisational 'music for wellbeing' groups.
Steve: What first drew you to the MD?
Tony: In 1981-82 I spent a year living in Brittany, working as an English Assistant in a couple of schools. (I was doing a degree in English and French, so this was my 'year abroad'.) I saw a dulcimer in the window of a music shop in Saint Brieuc and felt I just had to buy it, without considering how I would later manage to carry all my belongings - including my guitar and a dulcimer - as a foot passenger heading home on Brittany Ferries!
I was aware of the sound of a dulcimer from the music of French folk-rock band Malicorne. I think I may have seen a couple of buskers playing dulcimer in St Brieuc and there was a lot of interest in unusual folk instruments at the time, thanks to folk-rock bands like Tri Yann, who were very popular there. I loved the look and sound of the dulcimer, and I liked the idea of teaching myself to play a second instrument in addition to the guitar.
Steve: How did you learn to play? What tunes were in your initial repertoire?
Tony: That first dulcimer was made by Camac and was a nice instrument but was strung like a guitar, i.e. with the thickest string innermost rather than outermost. Since I already played guitar this didn't seem wrong to me so, for many years, I taught myself to play dulcimer back to front! I would play melodies on the middle string, with the chord shapes inverted. Of course - even if the instrument is strung 'upside-down' or 'left-handedly' - in DAD tuning the chords are just mirror-images of themselves.
Steve: Did you play it held like a guitar, or on your lap like most (but not all) folks do?
Tony: I knew I was supposed to play it on my lap (so I must have seen someone playing one at some point).
It was only many years later that a sales assistant in the Hobgoblin music shop in Manchester pointed out to me that the drone string is normally outermost. I duly complied and re-learnt how to play with the chord shapes 'flipped' but I still often use the middle string for melody. Right from the start, along with trying to play traditional folk tunes and pop tunes, I'd begun composing original songs and tunes on the dulcimer.
Steve: Are you still actively learning new stuff? What tunes are you currently playing or learning? How would you describe the type of music that you play?
Tony: I'm always actively learning and developing my playing. When I retired from my job with the NHS a few years ago I decided to treat myself to a better dulcimer that was more suitable for public performance. I made contact with Geoff Reeve-Black of Revels Music and with Robin Clark of Bird Rock Dulcimers, and ended up with a lovely new McSpadden instrument.
Steve: I followed a similar route talking to Geoff and corresponding with Robin, before buying a McSpadden too.
Tony: Yes, Geoff and Robin were both very helpful. I was quite surprised to find there weren’t more suppliers of dulcimers in the UK.
Through Geoff, I was introduced to the Nonsuch Club, and attended one of the Halsway Manor dulcimer weeks. I learnt such a lot there and felt that, after several years of playing in a limited style, my playing shifted on to a new level. The week gave me permission to use a lot of the little tricks and techniques which I'd taught myself over the years but had always had a nagging, guilty feeling that they were not the correct way to do it! I now realise pretty much anything goes on the dulcimer, as long as it sounds okay and especially if you find it more playable that way.
I've always liked to play unexpected tunes on the dulcimer, to surprise and 'wrong-foot' the listener. When people see the dulcimer they expect to hear you play a very traditional song or tune, so I like to play 1960s pop tunes. The Tornadoes' Telstar is a favourite, or The Crystals' And Then He Kissed Me - but you have to fill in Phil Spector's 'wall of sound' with your imagination! The Kinks' See My Friends also seems to work well.
Steve: The Kinks must be particularly dulcimer-friendly – Doug Berch, in another of these conversations, is working on an arrangement of Lola.
Tony: Yes, I saw that. I haven’t tried playing Lola on dulcimer. I think the original version was played on a resonator guitar. But I like playing See My Friends on dulcimer because it sounds very ‘modal’ anyway. I think Ray Davies was going for a sitar-kind of sound with that particular song, like a lot of pop musicians around that time.
I've written quite a few original instrumentals over the years for dulcimer, and a handful of songs. Sometimes I write a song on guitar and transfer it to the dulcimer, and sometimes vice versa. There's a dulcimer song on my album Lazy Oceanography called Foxes Walk the Promenade. This is an amalgam of lyrics recycled from an earlier song I used to play on guitar blended with what used to be a dulcimer instrumental tune. I describe my music as 'indie-folk': to quote our Facebook page, "original, indie-folk compositions with delicate melodies, strong rhythms and often startlingly surreal lyrics."
Steve: What first drew you to the MD?
Tony: In 1981-82 I spent a year living in Brittany, working as an English Assistant in a couple of schools. (I was doing a degree in English and French, so this was my 'year abroad'.) I saw a dulcimer in the window of a music shop in Saint Brieuc and felt I just had to buy it, without considering how I would later manage to carry all my belongings - including my guitar and a dulcimer - as a foot passenger heading home on Brittany Ferries!
I was aware of the sound of a dulcimer from the music of French folk-rock band Malicorne. I think I may have seen a couple of buskers playing dulcimer in St Brieuc and there was a lot of interest in unusual folk instruments at the time, thanks to folk-rock bands like Tri Yann, who were very popular there. I loved the look and sound of the dulcimer, and I liked the idea of teaching myself to play a second instrument in addition to the guitar.
Steve: How did you learn to play? What tunes were in your initial repertoire?
Tony: That first dulcimer was made by Camac and was a nice instrument but was strung like a guitar, i.e. with the thickest string innermost rather than outermost. Since I already played guitar this didn't seem wrong to me so, for many years, I taught myself to play dulcimer back to front! I would play melodies on the middle string, with the chord shapes inverted. Of course - even if the instrument is strung 'upside-down' or 'left-handedly' - in DAD tuning the chords are just mirror-images of themselves.
Steve: Did you play it held like a guitar, or on your lap like most (but not all) folks do?
Tony: I knew I was supposed to play it on my lap (so I must have seen someone playing one at some point).
It was only many years later that a sales assistant in the Hobgoblin music shop in Manchester pointed out to me that the drone string is normally outermost. I duly complied and re-learnt how to play with the chord shapes 'flipped' but I still often use the middle string for melody. Right from the start, along with trying to play traditional folk tunes and pop tunes, I'd begun composing original songs and tunes on the dulcimer.
Steve: Are you still actively learning new stuff? What tunes are you currently playing or learning? How would you describe the type of music that you play?
Tony: I'm always actively learning and developing my playing. When I retired from my job with the NHS a few years ago I decided to treat myself to a better dulcimer that was more suitable for public performance. I made contact with Geoff Reeve-Black of Revels Music and with Robin Clark of Bird Rock Dulcimers, and ended up with a lovely new McSpadden instrument.
Steve: I followed a similar route talking to Geoff and corresponding with Robin, before buying a McSpadden too.
Tony: Yes, Geoff and Robin were both very helpful. I was quite surprised to find there weren’t more suppliers of dulcimers in the UK.
Through Geoff, I was introduced to the Nonsuch Club, and attended one of the Halsway Manor dulcimer weeks. I learnt such a lot there and felt that, after several years of playing in a limited style, my playing shifted on to a new level. The week gave me permission to use a lot of the little tricks and techniques which I'd taught myself over the years but had always had a nagging, guilty feeling that they were not the correct way to do it! I now realise pretty much anything goes on the dulcimer, as long as it sounds okay and especially if you find it more playable that way.
I've always liked to play unexpected tunes on the dulcimer, to surprise and 'wrong-foot' the listener. When people see the dulcimer they expect to hear you play a very traditional song or tune, so I like to play 1960s pop tunes. The Tornadoes' Telstar is a favourite, or The Crystals' And Then He Kissed Me - but you have to fill in Phil Spector's 'wall of sound' with your imagination! The Kinks' See My Friends also seems to work well.
Steve: The Kinks must be particularly dulcimer-friendly – Doug Berch, in another of these conversations, is working on an arrangement of Lola.
Tony: Yes, I saw that. I haven’t tried playing Lola on dulcimer. I think the original version was played on a resonator guitar. But I like playing See My Friends on dulcimer because it sounds very ‘modal’ anyway. I think Ray Davies was going for a sitar-kind of sound with that particular song, like a lot of pop musicians around that time.
I've written quite a few original instrumentals over the years for dulcimer, and a handful of songs. Sometimes I write a song on guitar and transfer it to the dulcimer, and sometimes vice versa. There's a dulcimer song on my album Lazy Oceanography called Foxes Walk the Promenade. This is an amalgam of lyrics recycled from an earlier song I used to play on guitar blended with what used to be a dulcimer instrumental tune. I describe my music as 'indie-folk': to quote our Facebook page, "original, indie-folk compositions with delicate melodies, strong rhythms and often startlingly surreal lyrics."
Steve: Do you play mainly (or only) in one tuning? Which tuning(s)?
Tony: I use mainly DAD (sometimes with a capo) but I also really like DAC for more 'medieval-sounding' tunes. I wrote a tune in DAC which somehow conjured up for me Russian Cossacks ...but there's a bit in the middle where it goes all atonal and reminded me of Debussy, so I called it Drinking Vodka with Debussy.
Steve: I love the sound of DAC too – very atmospheric.
Do you play with others - i.e. other MD players or mixed instrument groups? Are you a performer (for fun or paid?). Do you teach?
Tony: I sometimes play with other MD players at Nonsuch gatherings, but I usually perform with the dulcimer solo. I also like to use it to add spice to recordings, where it can be heard playing away in the background (sometimes distorted with effects) where you might normally expect a lead or second guitar. I'm performing more and more these days, and occasionally get paid for it! I play solo and with Fracture Zone, at open-mic nights, pub gigs and music festivals. I've taught beginners classes at Nonsuch weekends, and have also introduced people to the dulcimer through my 'music for wellbeing' workshops, which I run for mental health service users.
Steve: What is the music scene like in your locality? Where do you play (i.e. at home, friends houses, pub, coffee shop, etc)? Are there many other MD players near you?
Tony: Worcestershire has a good thriving live music scene with lots of open mic nights and gigs. I've performed as part of Worcester Music Festival, and at other festivals in Malvern and Shropshire. I've also played at pubs, cafe bars and arts centres. My music has also been played on BBC local radio and I've recently contributed an original theme music to a new podcast on mental health. Fracture Zone are on Facebook https://www.facebook.com/FractureZone/ and I've put several tracks on the Tony Gillam/Fracture Zone Soundcloud page https://soundcloud.com/fracture-zone
According to the Nonsuch club members' directory there are about nine other dulcimer players in Worcestershire, but I think most of them are hammered dulcimer players rather MD players. So I don't come across many other MD players locally, although there is a talented singer and MD player called Kim Lowings who is from hereabouts and who is building a strong reputation on the folk circuit.
Steve: A lot of MD players seem to collect instruments. Do you wish to admit to Dulcimer Acquisition Syndrome? Please describe your favourite (or only) instrument.
Tony: I think my Dulcimer Acquisition Syndrome is remarkably well-controlled at the moment! I traded in my first (very worn-out) Camac dulcimer for a Blue Moon spruce-top MD, which I still use for my 'music for wellbeing' workshops.
Steve: Can you tell me more about the music for wellbeing workshops?
Tony: Of course. Last year I was invited by Dudley MIND (a local branch of the mental health charity) to facilitate a series of ‘music for wellbeing’ workshops. For many years as a mental health nurse I ran a Music Workshop Project with mental health service users. That earlier project was very successful and, in fact, won several awards. I’ve written about my work with music and mental health in my book "Creativity, Wellbeing and Mental Health Practice". I’m still a registered mental health nurse but my approach has changed a bit, in that, with the ‘music for wellbeing’ workshops, I see it more as a participatory arts activity which I facilitate as a musician rather than as a nurse. The sessions are mainly improvisational, involving a lot of hand percussion, but also guitar, dulcimer and autoharp. Some of the participants like to sing familiar songs, so we do a bit of that too, which involves a lot of playing by ear!
(Returning to Tony's instruments....)
...My pride and joy is my McSpadden 4FHCC with cherry top, back and sides and a built-in LR Baggs pick-up. This sounds lovely unplugged but still sounds powerful and sweet when plugged in and played through a pub PA system at open-mic nights, (especially with the help of a chorus pedal) and has stopped many a beer-drinker in his tracks on the way to the bar!
Steve: That’s the same spec McSpadden as mine, except I haven’t got the pickup. I once worked out what the McSpadden code system meant – 4FHCC is 4-string, flat peg-head, hourglass, cherry back, cherry top. Nice dulcimers!
Tony: Gosh, I never thought about what that code meant, but that makes sense. Steve, have you ever considered a career as a code-breaker?
Steve: That’s the same spec McSpadden as mine, except I haven’t got the pickup. I once worked out what the McSpadden code system meant – 4FHCC is 4-string, flat peg-head, hourglass, cherry back, cherry top. Nice dulcimers!
Tony: Gosh, I never thought about what that code meant, but that makes sense. Steve, have you ever considered a career as a code-breaker?
If you would like to book Tony Gillam solo, or the duo Fracture Zone, for a show at your venue, event or festival, or if you'd like to enquire about dulcimer tuition or a 'Music for Wellbeing' workshop, please contact Tony directly on: Tony.gillam@blueyonder.co.uk or direct message Fracture Zone on Facebook.
Steve: I’ll get the plug in Tony – thanks for the craic!
Tony: Thanks, Steve. Oh, and since it came up in conversation, my latest book "Creativity, Wellbeing and Mental Health Practice" is published by Palgrave Macmillan. Thanks for inviting me to take part in the interview; I really enjoyed it.
Steve: I’ll get the plug in Tony – thanks for the craic!
Tony: Thanks, Steve. Oh, and since it came up in conversation, my latest book "Creativity, Wellbeing and Mental Health Practice" is published by Palgrave Macmillan. Thanks for inviting me to take part in the interview; I really enjoyed it.