Scottish music at Battell Chapel and the Norfolk Library

Ken Storrs, left, on Scottish bagpipes and Andrew Thomson, right, on Irish uilleann pipes.
Photo submitted

Ken Storrs, left, on Scottish bagpipes and Andrew Thomson, right, on Irish uilleann pipes.
Norfolk resident Andrew Thomson will be presenting an evening of Scottish music at 6:30 p.m. Friday, Jan. 26, at the Battell Chapel in Norfolk and Saturday, Jan. 27, from 4 to 5 p.m. at the Norfolk Library. He will be accompanied by Scottish bagpiper Ken Storrs for both events.
Friday’s show honors Robert Burns and is a paid ticketed event that includes haggis, whisky and poetry reading. Saturday’s event is part of the Norfolk Library’s Music Among Neighbors series and is free with registration required.
Thomson plays the traditional Irish bagpipe known as the uilleann pipes, as well as piano, vibes, percussion and other instruments. He’s also the proprietor of Pipeman Studios, a full-service recording studio on Route 272 in Norfolk. The name of his studio comes from the fact that he used to smoke a pipe rather than his musical talents on wind instruments.
At age 18, Thomson was the youngest member of the composition and arranging staff at the Armed Forces School of Music. He earned a Bachelor of Music in composition and percussion with a minor in anthropology from Ithaca College. Thomson teaches percussion and gives clinics, recitals and masterclasses around the country. He has collaborated with the internationally acclaimed choirs of Joyful Noise Inc. and the United States Marine Corps.
With Scottish heritage, Thomson was familiar with the instrument from a young age. “We trace our family back to both Inverness and Glasgow,” he said. “I’ve been a couple times and would like to make it a regular thing, if not for family then certainly for the culture. It’s a fairly difficult instrument to master, and I wanted a challenge.”
The Saturday concert will be primarily Scottish music, as a continuation of the Burns Supper being hosted at the Battell Chapel the previous night, although there will be some Irish music as well. Thomson and Storrs will also speak about Scottish music and culture.
When asked about the difference between Irish and Scottish pipes, Thomson said: “Scottish, Highland pipes are probably the most familiar to people. They are much louder, mouth-blown, and utilize three drones and a nine-note chanter that plays the melody. Irish uilleann pipes are played seated and are powered by bellows. They feature drones, a chromatic chanter with more notes and range, and on full sets, regulators, which are extra pipes with keys that can be played by the wrist to provide chordal accompaniment.”
Thomson and Storrs have been friends for some time. They sang together as children in a local choir, and after growing apart during their teenage years, reunited at a funeral where Storrs was playing. After discovering they both played pipes, they became close friends and colleagues, even working together at a sign shop in Torrington, Connecticut.
“Celtic music in general is a very communal genre,” said Thomson. “Sessions of musicians are very common and are a great way for strangers to play together. Many tunes are known widely and can be learned by ear or sheet music fairly easily. It’s not uncommon for Ken and I to trade tunes back and forth or figure out tune sets to play together in advance. This concert will not be an exception — we’ll probably figure out our set list the night before or during the actual concert, gauging the atmosphere and choosing tunes accordingly.
“The piping tradition isn’t just about music. It’s about community, pageantry, and it’s an opportunity to highlight a lesser known art form. Beyond the trope of deafening volume and kilts, Scottish music is a highly complex art form that is both a proud tradition and an intimate communal experience,” he added.
The supper at the Battell Chapel will celebrate the life and poetry of Robert Burns with piping, poetry, whisky,and fanfare. “I sort of consider it a black tie event to celebrate the common man,” Thomson said.
For Friday’s Burns Supper, contact the Norfolk Church of Christ for tickets and info: office@cofcucc.org
For Saturday’s concert, registration is recommended via the Norfolk Library website: www.norfolklibrary.org
To find out more about Thomson’s upcoming projects, see his website: www.pipemanstudios.com
Webutuck Elementary students ushered in Halloween with a colorful parade around the school parking lot on Friday, Oct. 31, delighting middle and high school students who lined the sidewalk to hand out candy.

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In Amenia this fall, three artists came together to experiment with an ancient process — extracting blue pigment from freshly harvested Japanese indigo. What began as a simple offer from a Massachusetts farmer to share her surplus crop became a collaborative exploration of chemistry, ecology and the art of making by hand.
“Collaboration is part of our DNA as people who work with textiles,” said Amenia-based artist Christy Gast as she welcomed me into her vast studio. “The whole history of every part of textile production has to do with cooperation and collaboration,” she continued.
That sense of shared purpose is at the heart of the invitation Gast extended to artists Natalie Baxter and Janis Stemmermann to process a bumper crop of Japanese indigo (Persicaria tinctoria) at her studio this fall. All three artists’ practices intersect through material, process and an interest in the handmade. Gast and Stemmermann have collaborated on a series of hand-knit vests dyed with black walnut, available through Stemmermann’s store, Russell Janis. Baxter is a Wassaic Project residency and fellowship alum, who is leading a community quilting workshop there on Nov. 15. She also co-directs “Cottage Courses” with artist Polly Shindler, a series of hands-on artmaking workshops throughout the region.
“Lisa Dachinger of Hilltop Farm & Fiber Arts north of Pittsfield, Massachusetts had an abundance of indigo this year,” said Gast of her learning about the crop’s availability.In two trips to the farm, Gast harvested the plants and began experimenting with the ancient art and science of extracting pigment from the plants and transforming it into rich, layered blues.

“There are a lot of steps,” Gast noted with a laugh, as vats of aerated indigo bubbled in the corner of the studio. The process is slow and physical, dependent on timing, temperature and a kind of faith in chemistry. The freshly harvested Japanese indigo leaves are first soaked in warm water and left to ferment for several days. The plant matter is then removed, the solution is strained and the pH is raised with the addition of calcium hydroxide, and then the mixture is aerated, poured back and forth between containers until it oxidizes and the pigment turns dark blue. After the indigo settles to the bottom, the resulting paste is filtered, dried and ground into powder. Only then is it ready for dyeing.
But as Stemmermann pointed out, “It’s not a dye. It’s a coating and reaction.” Indigo’s elusive chemistry means each piece is unpredictable, shaped as much by chance as by control. To achieve a deep, saturated blue, “you have to layer it and dip it up to eight times,” she explained.
Each artist uses dye in their work, albeit quite differently, yet all share a deep sensitivity to material and process. “There is a seasonality to textile work,” said Baxter, referring to dye plants.“First, there’s the planting. And then you wait for them to grow, you harvest them, you dye the fabric and then it’s wintertime.” During quilt season when our attention turns inward, the patient, hands-on process becomes a meditation on slowness for Baxter, mirroring the rhythm of the earth and a quiet longing to move with it.

For Gast, working with plant dyes is a way to align artistic practice with ecology and activism. “I’m working on a project that will be showing at Mass MoCA in 2027,” she explained. “It’s a collaborative opera about peatlands for which I’m producing a textile installation that functions as the curtains. I’m using as many natural and regional processes as possible because our work has to do with local-to-global activism and conservation. There is a chemical alchemy in peatlands, which despite covering just 3% of the Earth’s surface, capture more than twice the carbon of all the planet’s forests combined. There’s a direct poetic alignment between plant dye processes and peatlands, which preserved some of the earliest textiles we know of. And the color palette is ancient, both familiar and uncanny.”
There’s a certain chaos in balancing experimentation with intent. For Gast, Baxter, and Stemmermann, this first attempt at pigment extraction has been as much about curiosity as outcome, a communal act of making, rooted in patience, experimentation and discovery.
To find out more about these artists, visit: christygast.com, nataliebaxter.com and janisstemmermann.com