www.Hooley.info Hooley@Hooley.info Online press kit, with photos + audio, available for download. CONTENTS Overview Bios Appearances Testimonials Program Discography Glossary Press Release Agreement Technical Requirements OVERVIEW "Pittsburgh Irish-music super group." Justin Hopper, Pittsburgh City Paper Hooley (`hoo-lee) n. 1. a party or celebration, a ceili (Ireland), 2. a boisterous party; a noisy, merry party (New Zealand), 3. a wild party (Australia), 4. Irish surname (variant of Whooley), 5. a village in Surrey, England, 6. an 1890s London (Islington), England gang, 7. US congresswoman from Oregon's fifth district (Darlene Hooley), 8. Pittsburgh, Pennsylvania's traditional Irish music and dance ensemble since 1991. Hooley is a collection of Pittsburgh's finest traditional Irish musicians and dancers who perform at concert halls, festivals, colleges and high schools, clubs and pubs, dances, receptions, and weddings throughout western Pennsylvania and the Ohio valley. Hooley's performances center around expertly-played traditional Irish instrumentals ranging from toe-tapping jigs, reels, polkas, slides and slip jigs to slow airs and stately hornpipes and marches. Interspersed throughout each concert are rousing traditional and original Irish songs, stirring recitations, intricate Turlough O'Carolan compositions, and virtuoso hard-and soft-shoe old- style Irish step dancing. The performers in Hooley are Oliver Browne on fiddle; Maggie and Sally Folan on feet; Bruce Foley on guitar, uillean pipe, low whistle, tinwhistle, and vocals; Les Getchell on percussion; Bruce Molyneaux on banjo, mandolin, cittern, and button accordion; Ray Werner on concertina, vocals, and composition; and Richard Withers on flute, tinwhistle, vocals, and composition. Hooley's guest artists have included Cathal McConnell of Boys of the Lough fame and popular local Irish vocalist Mike Gallagher. Hooley has opened for Steeleye Span and twice for Altan, appeared on local televison and radio, and established concert attendance records at the Carnegie Museum of Art's courtyard series and Allegheny Portage Railroad National Site's amphiteatre series. In 2001, Hooley released its favorably-reviewed compact disc, Cuts from the Turf (now sold out). Booking inquiries for performances, dances, receptions, studio work, workshops and private lessons may be made via email, hooley@hooley.info, or voicemail/fax, 412.291.1081. For the latest and more in-depth information on Hooley, visit our website, www.hooley.info. Complete promotional material is available online, too. BIOS Oliver Browne, fiddle Dublin born and bred in a rich musical tradition (his brother Peter is a respected uilleann piper, along with his cousin Ronan), Ollie has earned the reputation as one of the finest fiddlers playing today and has played with the best. His session playing in Clare, Donegal and especially Belfast decades ago is still revered. Bruce Foley, uilleann pipe, tinwhistle, guitar, vocals A gifted singer, musician and regarded by many to be one of the most accomplished in the US. Bruce has performed with The Irish Tradition, Paddy Reilly, James Kelly and regularly Guaranteed Irish. The resident expert on uilleann pipe, Bruce has twice hosted the East Coast Tionol (annual gathering of pipers). Les Getchell, bodhran, bones, other percussion One of the most highly-regarded traditional Irish percussion players around, Les has studied and played with the best. Les has taught bodhran at music camps Ashokan Northern Week in Saugerties, New York and Augusta Irish Week in Elkins, West Virginia. When not playing Irish, Les plays west African percussion. Bruce Molyneaux, mandolin, banjo, bouzouki An authority on traditional Irish music, Bruce is a sought-after banjo and mandolin player. His grandmother was a concertina player from County Kerry, and introduced him to Irish music. So, it's Bruce who usually slips in a fine polka or slide. Ray Werner, concertina, vocals Ray has been hooked on this music ever since he stumbled upon The Willie Clancy Festival some years ago. With a particular affection for the sean-nos style, Ray is occasionally Hooley's songwriter, when they have a bent for the original. Richard Withers, flute, tinwhistle Richard's remarkable flute playing has earned for him a stellar reputation, both for his playing and his repertoire. He plays a wonderful flute given to him by the late Mike Gallagher of Tubbercurry, Sligo, his mentor. Richard is also a gifted composer. His "Put The English On It" is a lively salute to Mike. Maggie and Sally Folan, step dancers As you guessed, they're sisters, and dance as only sisters can. Dancing since the age of four, they have been spreading the gospel since by teaching a hundred plus children in a group called The Irish Reelers, regulars at regional folk festivals and Irish events. In addition to step dancing, Maggie and Sally also teach set and ceili dancing. Their spirited dancing in the old (sean-nos) style is a highlight of every Hooley performance. The sean-nos style of step dancing is the framework on which the modern style of step dancing is based. It is always danced in harmony with the tune, the feet picking out a rhythm, moving with the notes. APPEARANCES "Hooley broke all performance attendance records." Diane Garcia, Allegheny Portage Railroad National Historic Site Concerts Allegheny Portage Railroad National Historic Site, Cresson, Pennsylvania (An all- time attendance record our first year there with 500+, increasing to 900+ our fourth year.) Borders Books & Music, Monroeville/North Hills/South Hills, Pennsylvania Bottleworks Ethnic Arts Center, Johnstown, Pennsylvania The Bruderhof, Uniontown, Pennsylvania Carlow College, Pittsburgh, Pennsylvania Carnegie Lecture Hall, Pittsburgh, Pennsylvania The Carnegie Museum, Pittsburgh, Pennsylvania (At the time, a summer concert series attendance record, as you can see in the online calendar photo.) Chatham College, Pittsburgh, Pennsylvania Central Catholic High School, Pittsburgh, Pennsylvania Duquesne University, Pittsburgh, Pennsylvania The Franklin Club, Franklin, Pennsylvania Historical Society of Western Pennsylvania, Pittsburgh, Pennsylvania Lakeview Performing Arts Series, Cortland, Ohio The Mattress Factory, Pittsburgh, Pennsylvania Mercyhurst College, Erie, Pennsylvania Pittsburgh Cathedral Hall, McKees Rocks, Pennsylvania Pittsburgh Public Theater, Pittsburgh, Pennsylvania Pittsburgh Zoo, Pittsburgh, Pennsylvania PPG Place, Pittsburgh, Pennsylvania Saint Bedes, Pittsburgh, Pennsylvania Synod Hall, Pittsburgh, Pennsylvania Festivals AOH Irish Day, South Park, Pennsylvania First Night, Pittsburgh, Pennsylvania Fort Ligonier Days, Ligonier, Pennsylvania Friendship Days, Pittsburgh, Pennsylvania Irish Centre of Pittsburgh, Pittsburgh, Pennsylvania Johnstown FolkFest, Johnstown, Pennsylvania Multicultural Festival, Parkersburg, West Virginia National Road Show Festival, Washington, Pennsylvania New Growth Arts Festival, Indiana, Pennsylvania Oil Heritage Festival, Oil City, Pennsylvania Penn's Colony, Saxonburg, Pennsylvania Pittsburgh Irish Festival, Pittsburgh, Pennsylvania (A memory we cherish is the year we performed there with special guest Cathal McConnell of Boys of the Lough fame.) Pumpkin Festival, Indiana, Pennsylvania Slavic Food Festival, Monroeville, Pennsylvania Smoky City Folk Festival, Pittsburgh, Pennsylvnia Somerfest, Somerset, Pennsylvania Station Square, Pittsburgh, Pennsylvania Three Rivers Arts Festival, Pittsburgh, Pennsylvania The Treehouse Festival, Beaver Falls, Pennsylvania Westmoreland Arts & Heritage Festival, Greensburg, Pennsylvania Wheeling Celtic Festival, Wheeling, West Virginia Clubs Club Cafe, Pittsburgh, Pennsylvania Heaven, Pittsburgh, Pennsylvania Hopper's Brew Pub, Erie Brewing Company, Erie, Pennsylvania Mullaney's Harp & Fiddle, Pittsburgh, Pennsylvania Pennsylvania Brewing Company, Pittsburgh, Pennsylvania Rosebud, Pittsburgh, Pennsylvania (We had our CD release party there with 400+ in attendance. Not anticipating the turnout, the club ran out of beer two hours into the event.) Three Rivers Brewing Company, Pittsburgh, Pennsylvania Radio/television KDKA-TV, Pittsburgh, Pennsylvania WQED-FM, Pittsburgh, Pennsylvania WQED-TV, Pittsburgh, Pennsylvania WTAE Radio, Pittsburgh, Pennsylvania WYEP-FM, Pittsburgh, Pennsylvania Receptions/dances CityFolk Annual Ceili, Dayton, Ohio Various weddings and private receptions Plus, the many sessions we've played in, including some great ones with visiting musicians from Ireland and elsewhere. TESTIMONIALS National Park Service concert "Our Evening on the Summit series this year was our best attended series to date, and Hooley broke all records for individual performance attendance as well. A total of 2379 park visitors patronized our 13 different presentations. Our records show an excited and appreciative audience of 503 at your program. The musical skill of your group, the beauty and mastery of the dancers, and the enthusiasm of everyone was evident, as was the enjoyment of the public. Many members of the audience expressed a wish to see your group perform at next year's Evening on the Summit." Diane Garcia, Park Ranger, Allegheny Portage Railroad National Historic Site, Cresson, Pennsylvania (Hooley returned the following four years, increasing attendance to a record 900+.) Wheeling Celtic Festival performances "Since the beginning of the Wheeling Celtic Celebration in 1996, Hooley has consistently been a crowd favorite. Your blend of traditional instruments and the talent of all your members make for a memorable performance. Thanks for helping to make our festival a success." Craig O'Leary, Program Director, Wheeling Celtic Festival Mercyhurst College concert "Once again, it was a true pleasure to have Hooley for Mercyhurst's Alumnae weekend. We have had many favorble responses from the show. Everyone seemed to really enjoy the dancing and wished for more. Thanks for a good hooley!" Michael J. Furhman, Director, Mary D'Angelo Performing Arts Center, Mercyhurst College, Erie, Pennsylvania Mid-Ohio Valley Multi-Cultural Festival performance "We want to thank you for the performance of Hooley at our 5th Annual Multi- Cultural Festival. We have a lot of Irish music lovers in this area who appreciate Irish music. Again, thank you for helping to make the Festival a success!" Gene Donaway and Bea Carra, Mid-Ohio Valley Multi-Cultural Festival, Parkersburg, West Virginia Duquesne University workshop "I wanted to let you know how much I appreciated your presentation on Irish music at the Journeys Through the World's Music seminar on October 17. Several students told me afterwards that your session interested them so much that they were planning to attend some weekend Irish music making events. Your group exhibited enthusiasm and skill in playing traditional music; you were also adept at giving listeners something to listen for in their music. It was obvious that you love what you're doing--that helps makes students interested, too. Thank you for your marvelous music and informative presentation!" Dr. Marilyn M. Egan, Assistant Professor of Music Education and Eurhythmics, School of Music, Duquesne University, Pittsburgh, Pennsylvania PROGRAM "First class." Calliope, The Pittsburgh Folk Music Society For concerts, Hooley usually plays two 45-minute sets, with a 10ñ20 minute break between sets. The requirements for festivals, dances and receptions may vary from the concert format. Set 1 (45 minutes) 1. "Dr. O'Neill's" (5-part jig, instrumental) 2. "Paddy's Green Shamrock Shore" (song) 3. "Hardiman the Fiddler," "Comb Your Hair and Curl It" (slip jigs, soft-shoe dance) 4. "Balleydesmond Polkas" (instrumental) 5. "Sweet Forget-Me-Not" (song) 6. "Connaghtman's Rambles" (jig, dance) 7. "Concertina Reel," "Coffey's" (reels, instrumental) 8. "Fiddler's Green" (song) 9. "Martin Wynn's" (reel, hard-shoe dance) 10. "Hunter's Purse," "Gravel Walk" (reels, instrumental) 11. "As I Roved Out" (song) 12. "Off to California" (hornpipe, hard-shoe dance) Set 2 (45 minutes) 1. Uillean pipe tunes (instrumental) 2. "Ray's Waltz" (instrumental) 3. "Boys of Barr na Sraide" (song) 4. "The Butterfly" (slip jig, soft-shoe dance) 5. A-Minor Polkas (instrumental) 6. "Fingers Could Dance" (song) 7. "Mug of Brown Ale," "Willie Coleman's" (jigs, dance) 8. Air, "Up to Your Knees in Sand," "Salamanca" (air and reels, instrumental) 9. "Rare Auld Mt. Dew" (song) 10. "Plains of Boyle" (hornpipe, hard-shoe dance) 11. "Loftus Jones" (O'Carolyn composition, instrumental) 12. "Host of the Air" (recitation) 13. "Wise Maid," "Cooley's," "McMahon's" (drum solo and reels, dance) Hooley has a large repertoire, so material changes over time, of course. A typical Hooley concert has a mix of traditional Irish instrumentals and songs, comprising an amazing variety of time signatures unheard of in most popular music: 4/4 (reels and hornpipes), 2/4 (polkas), 6/8 (jigs), 9/8 (slip jigs), 12/8 (slides), 3/4 (waltzes). Traditional Irish music requires as much training and devotion as it does for musicians specializing in classical and jazz. The bonus with traditional Irish music, when it is played well, is that you can't sit still. It is no wonder that Irish and Celtic music dominates the world music charts year after year. Please be aware that Hooley plays only the traditional music of Ireland -- American-Irish bar songs and show tunes are offered by other groups that specialize in them. DISCOGRAPHY "Pittsburgh's acres of diamonds, a treasure." Diane Byrnes, Echoes of Erin, WEDO Radio After ten years of playing, Hooley released a compact disc, Cuts from the Turf, in 2001. It's now sold out, but until we re-issue the CD, track one, "Charlie Lennon's Reel," is available online as an mp3 file. The cut begins with a solo by Oliver Brown on fiddle, with Bruce Foley on guitar, Les Getchell on bodhran, and Richard Withers on flute, joining in. You may also listen to 30-second sound bites for each track online. If you would like a copy of the CD, send us an email, hooley@hooley.info. A Pittsburgh City Paper CD review For around 10 years, Pittsburgh Irish-music super group Hooley has carried the torch of traditional music in this area. The band's debut CD, Cuts From The Turf, is a quietly masterful labor of love, self-produced and self-released by Hooley with a careful eye on everything from the beautiful packaging to the folk-geek- satisfying liner notes. Most importantly, the music on Cuts From The Turf is wonderful almost without exception. The tunes and songs chosen here (only one song was written by the musicians) fall within a fairly strict traditional music framework of instrumental dance tunes, sean-nos songs (a style of unaccompanied singing) and ballads -- no "Whiskey In the Jar" here -- and are played with a healthy dose of respect for that tradition, both in the musicianship and the recording's production. While no recording can capture the sublime communication of a pub seisun, Hooley attempts it here with all the rough-edged fiddle barbs, pipe pops and other reality checks that remind the listener that this is living, breathing music, not a polished studio style. On the instrumental tunes, which make up the bulk of Cuts From The Turf, Hooley offers a diversity of tune styles. Of particular effect: three slides played by flautist Richard Withers, including one ("Put The English On It") written for his Pittsburgh-based Irish immigrant mentor; Oliver Browne's fiery fiddle reels ("Charlie Lennon's") that start the disc off; the beautiful and haunting "The Butterfly," on which Bruce Foley's low tin whistle and Les Getchell's bodhr‡n mesh into a primitive, tribal imitation of nature. The songs on Cuts From The Turf benefit greatly from inventive arrangements and Foley's and Ray Werner's pure tenor voices, but are more naturally prone to the teary-eyed nostalgia that is part and parcel of Irish song. "The Boys Of Barr Na Sraide," for example, is arranged into a Chieftains-esque full-band number, and Foley sings with the same off-the-cuff immediacy that characterizes the album's performances. But the song hits so many Irish lyric catchphrases (English oppression, emigration, how great things used to be and will be again) that itdoesn't seem right on this subtle disc. More proper is the sean nos romp "I Thank You Ma'am, Says Dan," in which Werner's deadpan unaccompanied singing offsets the silly, double-entendre lyrics. Justin Hopper, Pittsburgh City Paper, March 13, 2002 Cuts from the Turf The CD's complete liner notes (lyrics + :30 sound bites available online) 1. "Charlie Lennon's Reels" Two compositions of the great Galway tunesmith and fiddler Charlie Lennon. 2. "Put the English On It," "Patrick O'Keeffe's," "Connie Walsh's" Three slides. The first is an original tune by Richard Withers honoring the wonderful Sligo flutist Mike Gallagher, who immigrated to Pittsburgh in the ë40s. 3. "The Boys of Barr na Sraide" By Sigerson Clifford of Cahersiveen, County Kerry. Barr na sraida translates to "high end of the street." One of Bruce Foley's favorite songs, it is a powerful combination of haunting melody and poem that recollects the important events and people in a man's lifetime. Hunting for the wren is a traditional event carried out on St. Stephen's Day (Dec. 26) by young friends and siblings. Bruce sang this song years ago for the late Michael O'Shea. He was rewarded with a 1935 penny Michael brought with him when he emigrated to Pittsburgh from County Kerry. 4. "Tuar Mor Polkas" We've been playing these tunes for as long as we can remember. Originally learned by Bruce Molyneaux from the recordings of Sliabh Luachra fiddle master Patrick O'Keeffe. 5. "Dr. O'Neill's" A jig and a big tune, in five parts. It's the first tune in O'Neill's collection. 6. "Down by the Tanyard Side" A traditional ballad from the classic Irish Street Ballads collected and annotated by Colm O Lochlainn. 7. "Lad O'Beirne's," "The Boy On The Hilltop," "Martin Wynne's" Three reels. The first comes from James "Lad" O'Beirne, a great fiddler originally from Killavil, County Sligo. The second Richard learned from various sources. The third is by the great fiddler and composer, Martin Wynne. 8. "The Butterfly" One of the few traditional tunes that actually sounds like its name. Bruce's low whistle here captures its flight. Les Getchell's bodhran helps it soar. 9. "The Boy in the Boat," "Crowley's," "The Glass of Beer" Three reels, and favorites around Pittsburgh ceilis. 10. "Fiddler's Green" By John Conolly. Bruce Foley says he always thought this was a traditional ballad and was genuinely surprised to discover it was composed in 1966. It was a favorite ballad in New Bedford, Massachusetts, where he sang at the festivals and in the pubs and everyone knew the chorus. 11." The Little Stack of Wheat" A favorite hornpipe, and one the Folan sisters love to dance to in the old style. 12. "I'll Buy Boots for Maggie," "Martin O'Connor's," "Jim Keeffe's," "Mickey Chewing Bubblegum" Four polkas. The first two were learned from Boys of the Lough, the third from the playing of West Cork accordion master Jackie Daly and and fourth from its composer, accordion player Terry "Cuz" Teahan, a Castleisland, County Kerryman who found his way to Chicago. 13. "'I Thank You Ma'am,' Says Dan" From the collection of Colm O Lochlainn. One of the many traditional songs that can best be sung sean-nos, and one of Ray's favorites. 14. "The Connaughtman's Rambles," "The Mug of Brown Ale," "Willie Coleman's" Three jigs you may recognize, for they're well-loved. 15. "The Donegal Fiddler" A song by Ray Werner inspired by Northern fiddlers such as Teelin's Con Cassidy, Ardara's John Gallagher and others who kept alive the cherished Donegal fiddling style and flow of original tunes. Oliver Browne teases us with the A and B parts of "Jackson's Reel" between verses and puts them together at the end. 16. "Spike Island Lasses," "The Silver Spire" Two of our favorite reels. GLOSSARY Bodhran (`bow-ron, `bor-on). An Irish frame drum, covered on one side usually with goatskin. Often played with a double-end stick (known as the Kerry style); sometimes played with a single-end stick or by hand. Modern bodhran is tunable and has no crossbar. Bouzouki (boo-`zoo-kee, buh-`zoo-kee). A long-necked, pear-shaped stringed instrument, about the size of a small guitar, played with a plectrum (pick). Similar to cittern and octave mandolin. Ceili (`kay-lee). Also spelled ceilidh. Irish social dance. Celtic (`kel-tik, pronounced `sel-tiks for American sports teams). Concertina (`con-ser-`tee-nuh). A hexagonel-shaped, free-reed, bellows instrument played with keys (buttons) on both ends. Fiddle. Exactly the same instrument as violin. Terms are interchangeable. Hornpipe. An Irish dance tune type played in moderate 4/4 time with a swing. Originated in England. Jig. An Irish dance tune type played in moderate 6/8 time. Originated in Germany. Mandolin. A pear-shaped stringed instrument about the size of a fiddle (violin) but played with a pick (plectrum) instead of a bow. Polka. A type of Irish dance tune played briskly in 2/4 time. Originated in Poland, popular in southwest Ireland. Reel. An Irish dance tune type played briskly in 4/4 time. Originated in Scotland. Sean nos (`shan-no), Irish Gaelic for "old style." Simple system flute. An old-style flute, usually made of wood, with a conical bore and six holes. May also have one or more keys. Slide. An Irish dance tune type played briskly in 12/8 time. Popular in southewest Ireland. Slip jig. An Irish dance tune type played in moderate 9/8 time. Slow air. An Irish tune or song played or sung (rhythmically) freely. Tinwhistle. Also known as a pennywhistle or whistle. A fipple flute; a small six- hole conical or cylindrical-shaped wind instrument often made of metal. Uilleann pipe (`ill-un), Irish Gaelic for "elbow." An Irish bagpipe with bellows pumped by the elbow. Other Irish dance tune types: barn dance, fling, march, mazurka, schottische, waltz. Other Irish instruments: bones, button accordion, cittern, guitar, harp, octave mandolin, shoes. PRESS RELEASE Hooley to Perform in Concert [Day/Date] For immediate release: A collection of Pittsburgh's finest traditional Irish musicians, Hooley will be performing at [event] on [day/date], at [time]. Hooley, which is Irish Gaelic for a good time/a party, plays traditional Irish instrumentals ranging from slow airs and O'Carolan tunes to lively jigs and reels -- often accompanied by hard-and soft- shoe Irish step dancing -- and traditional and original Irish songs. Occasionally breaking attendance records and earning praise from presenters and the press with "first class," "a treasure," and "Pittsburgh Irish-music super group," Hooley has performed at concert halls, festivals, colleges, and folk clubs and for ceilis (dances) throughout western Pennsylvania, eastern Ohio and northern West Virginia since 1991. Hooley released its first recording, Cuts from the Turf, in 2001 to favorable reviews and played on the air as far away as New York City. This is Hooley's [nth] appearance at [event]. The ensemble includes Oliver Browne on fiddle; Bruce Foley on uillean pipe, tinwhistle, guitar and lead vocals; Les Getchell on bodhran (Irish frame drum) and other hand percussion; Bruce Molyneaux on mandolin and banjo; Ray Werner on concertina and vocals; Richard Withers on flute; and stepdancers Maggie and Sally Folan. All of the members of Hooley are of Irish descent, have studied with Irish masters, and performed with the best. AGREEMENT This is an agreement between _______________________________________ (organization), referred to as Presenter, and Hooley, referred to as Artist. 1.1 Artist agrees to provide the following service: two 45-minute sets on __________________________ (date) at ___________________ (start time). 1.2 Artist agrees to provide Presenter with Artist's press kit upon request. 1.3 Contact, address, and telephone numbers and email address for Artist: ____________________________________________ (artist's representative), __________________________________________________ (artist address); __________________ (artist phone); _____________________ (artist e-mail). 2.1 Event shall take place at ______________________________________________ (venue and address). 2.2 Presenter shall pay the Artist the following performance fee: $____________ (amount). Payment shall be made immediately after Artist's performance. 2.3 Contact, address, and telephone numbers and email address for Presenter: _________________________________________ (presenter's representative), _______________________________________________ (presenter address); _______________ (presenter phone); __________________ (presenter e-mail). 2.4 Sound reinforcement equipment for performances shall be provided by Presenter. Artist agrees to provide a written statement of sound requirements and a stage diagram to Presenter. Artist agrees to be present for sound check 60 minutes prior to start of performance. 3.1 Neither Artist nor Presenter shall be bound in the event of accidents, strikes, "acts of deity," or any other legitimate condition beyond their control. 3.2 One copy of this agreement shall be signed and returned to Artist 30 days before the date of the first performance. For Presenter: ________________________________ signature __________________ date For Artist: ________________________________ signature __________________ date Technical Requirements Presenter agrees to provide the following: 1. Professional sound system appropriate for acoustic instruments. 2. Professional sound engineer to mix during sound check and performance. 3. Three-way or low-frequency crossover two-way main speakers. 4. Four low-profile wedge monitors. 5. Sixteen-channel, three-band eq mixing board, with phantom power. 6. Six armless wood chairs or short stools arranged in a shallow arc across the stage. 7. Three tall boom stands, six short boom stands, two direct inputs, twelve cables. 8. Two Shure SM58 or equivalent vocal microphones, five Shure SM57 or equivalent instrument microphones, one condenser instrument microphone, one large-diaphram condenser microphone (will bring Equitek E-100, please provide equivalent backup). 9. Bottled water, one for each performer. Technical contact: Les Getchell, 412.291.1081 voicemail/fax, les@hooley.info.