Stories from Cold Springs
This is a storytelling podcast that celebrates the creativity in everything from the mundane to the extraordinary. Creativity knows no bounds, and Stories from Cold Springs nurtures the story in all of us.
Listening to the host, J Stephen Beam, makes you want to grab a cup of sweet tea and join him on a wrap-around porch in Mississippi. The hours feel like minutes and you can't wait for the next visit (episode).
Stories from Cold Springs
Alexis Frenette - Fiddling Through Life's Challenges
Send us your Christmas Stories
What happens when a classically-trained violinist breaks her neck and loses her musical identity for over a decade? Alexis Frenette's remarkable journey takes us from a defining childhood moment in Connecticut to finding her place as a fiddle player in Mississippi.
Alexis shares the pivotal experience of discovering her passion at just five years old during a school assembly featuring young Suzuki method violinists. "I remember the exact moment that I decided I was going to play the violin for the rest of my life," she recalls with clarity. This decisive childhood moment set her on a path of serious musical training, eventually positioning her for a promising career.
Growing up with a Mississippi-born mother while living in the Northeast created a fascinating cultural hybrid. We explore how Alexis navigated between seemingly contradictory worlds: mastering the formal precision of classical violin while embracing the improvisational freedom of Southern fiddle playing. Her illuminating explanation of the differences between violin and fiddle playing offers listeners genuine insight into these distinct musical traditions.
The heart of Alexis's story emerges when she describes the devastating car accident that broke her neck at age 20, robbing her of the ability to play properly for twelve years. "It's like losing your identity," she confesses. Yet what follows is an extraordinary account of healing, perseverance, and rediscovery that speaks to the resilience of the human spirit and the profound connection between musicians and their instruments.
Today, Alexis runs a music school with her brother in Laurel, Mississippi, passing on their musical knowledge to the next generation. The episode concludes with her moving performance of "Ashokan Farewell," the hauntingly beautiful piece made famous by Ken Burns' Civil War documentary.
Whether you're a musician, a teacher, or simply someone who appreciates stories of triumph over adversity, this conversation will resonate with its themes of identity, healing, and the transformative power of artistic expression. Subscribe now and share your thoughts on this powerful musical journey.
WE WANT YOUR STORIES! Have a country or small town-themed true story for us? Please send it to our producer at hillary@hillkane.com. Put SFCS-Holiday in the subject line. By submitting your story, you are permitting us to read it on air. Please let us know if you prefer us to use your name or a pseudonym/alias. If we get enough stories, we can have a " Stories from Our Listeners episode!!
Links to Stephen's incredible novels:
Hello everybody and welcome to Stories from Cold Springs. I'm your host, j Stephen Beam. I'm extremely excited to have our guest today.
J Stephen Beam:I first met our guest, oh, seven or eight years ago, and I was producing a play in our little community theater here in our small town. I was looking for a bluegrass band. So I looked for a band, couldn't find one. So I called some individual players that I knew One was a violinist that I'd met and another play that I'd been in several years ago and she said I can't do it, the timing doesn't work out for me, but let me give you a name. She may do it. So I called our guest today and she said, oh, I'd be happy to do it. It turned out to be the best thing that could happen for us as a theater group. In the end she played in two of our shows and really made it happen. Our guest can play classical music, but she's also a quote fiddle player, unquote period. She played the bluegrass music that we needed bluegrass country gospel that we needed, perfectly. So I'm very excited to have her, but more than that, to hear her story. So, alexis Frenette, welcome.
Alexis Frenette:Thank you so much for having me.
J Stephen Beam:Tell us, alexis, about growing up. What's your background, even before we talk about your violin playing. What was life like for you?
Alexis Frenette:I'm the daughter of a minister. He's a pastor. I was actually born in Miami, florida, but my dad started a church in upstate New York so I lived there until I was about four and then he took over a church in Connecticut. So I actually grew up in Connecticut. I went through elementary school, middle school, first year of high school there in Connecticut. So I actually grew up in Connecticut, went through elementary school, middle school, first year of high school there in Connecticut.
Alexis Frenette:It was a town called Milford, which is a suburb of New York City, about 45 minutes outside of the city. So growing up in Connecticut was just beautiful. I mean the perfect seasons, all four of them, which I really, really love, and just so much culture. As a child growing up there, you know, surrounded by arts and surrounded by music and things like that. My family's very musical. My father sings beautifully, my mom sings and plays piano, and so, you know, growing up in church, if there wasn't a bass player, guess who was playing bass, that Sunday morning Stuff like that. As far as how my life's been, it's always been surrounding music and the church that we were at and things like that.
J Stephen Beam:You've got to tell us how you got to Mississippi.
Alexis Frenette:Well, so my mom is from Mississippi. She was actually born in Pascagoula and my grandparents live in Taylorsville. That's where my mom's side of the family is all from that area, from Taylorsville. So every year when we would come like for family vacations, holidays, things like that, we'd always go to Taylorsville and like Laurel. So we were kind of rooted in this area. Even though I didn't live here, I spent about two weeks every year.
Alexis Frenette:There really wasn't a plan to move here until my husband at the time he was in the military and then he was going to basic training and so I sat and was living in Florida at the time and I realized I really haven't spent any time hardly with my grandparents. So we'd always lived up north, we lived far away, so I knew I'd be moving, I knew I'd be starting over and just my personality of like what's next you know. So I decided while he was gone in basic that I would just move to Mississippi for those six months because I was just like I wanted to. I wanted to see what it was like and live with my grandparents. I hadn't lived with them a lot and that's what I did and that's when I think I met y'all. That was the first time I'd moved here, so I was just living here by myself with my dog and got connected in a church and things like that.
Alexis Frenette:But then he joined the military and was stationed in Fort Myer. So we moved to DC for three years and once he got out it was kind of just like, well, what do we do? Do we move back to Florida? I had put down some roots here in Mississippi at that point and I just kind of prayed about it and was like, well, what do we do? And ended up just moving back to Mississippi because neither of us wanted to go back to Florida and we were kind of just like, well, what do we do next? So I came back to where my grandparents were in Taylorsville and got rooted again there and then I got pregnant with my son and we never left. That's basically how that happened. And then a couple years later my parents ended up moving here and then a few years after that, my brother ended up moving here, which really was a blessing because you know, now my grandparents are older and my mom gets to be near them at their you know, late stages of life and everything. So we all kind of just moved here.
J Stephen Beam:So how did you get interested in the violin especially?
Alexis Frenette:Growing up in Connecticut. I remember the exact moment that I decided I was going to play the violin for the rest of my life. I was five, I was in kindergarten and we were at an elementary school called Mathewson and they had assemblies, you know, different assemblies for different things. And one day there was a Suzuki school that came and did an assembly during lunch, and a Suzuki is a violin method of teaching. It focuses a lot by ear. It's a classical method, it's just, it's really great. But this music school had about 500 kids. It was called Bethwood Suzuki School and so they came and did a demonstration and my first teacher her name was Lisa Barker Hall. She came and led the demonstration and she the biggest inspiration in my life, which I can talk more about her later. But she was standing up there and there was probably 30 little violinists, you know, and they're all young, all kids, you know my age and they were up there just playing all these Suzuki songs and I was sitting in the back of the. It was like a cafeteria really. They turned into like an auditorium.
Alexis Frenette:I was sitting back there on my mom's lap, my brother was sitting next to us and I turned around and looked at my mom. I was like I want to do that, like just just clear as day. And so she's like, okay, that's what we're doing. And because Josh and I ended up, we were we were almost grew up like twins because that's what I did, that's what he was doing too, because that's what I did, that's what he was doing too, and so we just never really looked back. I mean, I know that there were times over the years, as I got older, that I wanted to quit, and my mom was like, yeah, no, we're too invested, but really I loved it so much. Like she never really had to tell me to practice. She was just, you know, if I had something special to work on, she would make sure I was doing everything. But yeah, I just decided that's what I was going to do because I thought it was awesome.
J Stephen Beam:Your brother, josh, is quite an accomplished violinist as well.
Alexis Frenette:Yes, he's a great violinist. He's a guitarist. We both started on violin. He started on violin, as did I, and then, when he got a little bit older, he kind of decided guitar was his baby and so he plays guitar. He's an incredible guitarist but also plays violin as well. Most people now especially here, since we didn't grow up here most people don't know he plays violin. They just know him as Josh the guitarist. We have a bunch of students and it's funny, every time I meet somebody or play with somebody that knows him, they're like oh yeah, your brother's the GOAT and I'm like I know he is. It's just great, I'm a guitar.
J Stephen Beam:So your father, though, was from the Northeast. Is that right?
Alexis Frenette:No, he was actually from Miami. That's why Josh and I and my dad were all born in Miami. Dad lived and grew up in Miami. His father my grandfather was a UPC preacher down there. Church was first down in Miami and then it moved to Cooper City which is kind of Fort Lauderdale-ish area. Growing up, I mean, we lived in Connecticut but again, I spent two weeks in Miami every year, two weeks in Mississippi every year, so we kind of got the full spectrum of the United States at the time.
Alexis Frenette:Growing up in the Northeast but being raised by a Southerner, you know my mom's full-blooded Mississippi, if that makes sense. We had an interesting childhood because in the South there are certain cultural things that are just Southern and so that's the way my mom raised us. But in the Northeast they look at things very differently and I'll never forget one day, like when we were home we would have to say yes ma'am, yes sir, you know, because that's just Southern respect and hospitality. But in the Northeast if I went to school and said yes ma'am or yes sir to my teachers, I'd get in trouble. They see it as like why are you calling me old? You know, they see it as a sign of disrespect, and so it was just navigating that Northeastern values versus Southern values was very interesting. I know it's kind of funny, but I still think about it to this day.
J Stephen Beam:I'm like well, At this point in your life, with all these different influences on you as you were growing up, do you consider yourself a Southerner now, or what? Or a hybrid?
Alexis Frenette:Definitely a hybrid, definitely. You know I live, obviously I live in the South. I have a lot of Southern values, but I don't either. You know I have friends down here that call me a Yankee, because I don't talk Southern per se, but up North like. We went to Boston last summer in New Hampshire. We spent some time up there and immediately everyone's like where are you from? And I was like I don't have an accent, what do you mean? Like what? But I do have a little bit versus the way they talk up there. But I don't really feel like I belong to either of them. But I always do say when people are like where are you from? I'm like well, I grew up in Connecticut, because that's where I grew up my childhood, everything was from there. But, yeah, interesting.
J Stephen Beam:It's interesting that you don't have to live in the South long at least most people don't in order to develop some of the speech patterns.
J Stephen Beam:For sure, and a little bit of the draw, and certainly those folks. Mine was the opposite case. I spent my entire life in the South, except for three years in Milwaukee. For three years in Milwaukee, and so I did my residency there, and so when I came back the people in Milwaukee thought I was still very Southern in my talking pattern. Folks in the South thought I was putting on airs because I was trying to sound Northern and I wasn't trying to sound anyway.
J Stephen Beam:Sure you just pick up speech patterns. So you're, you're in Mississippi and you're becoming an adult, or you are an adult during that period of your life, and obviously you continued playing the violin. How did that work? Who were you playing for? Or were you playing for anyone other than yourself?
Alexis Frenette:Well, really, in this part of a big chunk of my story, I actually really wasn't playing when I first moved back here, because I had broken my neck when I was 20 and I didn't play violin. I really didn't play for probably 12 years from that period, which is you know, it's like starting over, isn't it oh?
Alexis Frenette:my goodness it was. It was really, really rough and then, too, too, like losing your identity, basically because I had went. You know, growing up in Connecticut I was on track my teacher at the time we were at a Yale student conservatory called ECA, growing up there and then we moved down to Florida and even still there we got in the youth orchestra. My teacher was from the Florida Orchestra, his name was Leilu. So anyway, long story short, I was really on track to go to university for violin, be a professional violinist, you know, just doing a lot of classical stuff. Mom always made sure we fiddled because, being from the South, we had to absolutely know how to fiddle. I was in my junior or my sophomore year of university down in Florida and then a couple months after that and I broke my neck and then I couldn't play for a period?
J Stephen Beam:Did you have that happen?
Alexis Frenette:The car accident. I fell asleep driving, I know, and it really is. It's so bad because I remember coming home that weekend and I was really tired, but I had, you know, wanted to be back, had to be back for church the next morning, and I was probably five minutes from my house, my parents' house, and I fell asleep. And then just I remember waking up and like jerked the wheel which you're not supposed to do, obviously, but I jerked the wheel and then the car just starts flipping, and then I just remember thinking, well, nothing good happens, going 70 miles an hour like upside down, and then I passed out and I woke up. It's kind of really like a miracle. It was. It was late at night and there was nobody on the road, but a trucker, like an 18 wheeler, saw my headlights, just zigzag, you know, and then he actually turned around and came and found me. It was really a God thing so many little miracles from there but he found me broken neck. I had to wear a neck brace for four months. Thank God, though, I didn't have to have surgery and I broke my C1 and my C6 and it was just straight through enough that it it healed. But because of that later I had a lot of scar tissue, I had a lot of damage, I had a lot of atrophy in my arms and things like that, taking gigs again, trying to, like you know, do orchestras and things. But I couldn't play the same, couldn't hold my bow, the same. I had a lot of pain in my neck in different things, and so I just stopped playing. And then my husband was in the military. I hardly didn't even play up there.
Alexis Frenette:But when I moved back to Mississippi there were a lot of other little things Like there. There was one point I went to this conference and literally God healed me. You know, I still had I just remember praying, and I was just so broken and so upset because it's like my whole existence playing the violin just wasn't a thing anymore. So I really didn't know what to do with myself and I remember asking God I was like I can't, I can't do this, like this is my love, this is what I want to do. And I'll never forget I was at that conference and I was just praying and literally felt like a hot oil go down my neck and after that I'd never had the same type of pain. I still had work to do, but I could play again and it wasn't excruciating. I mean, I knew it, I was healed wasn't excruciating, I could like.
J Stephen Beam:I mean, I knew it, I was healed. Let me break in and ask one other thing. Yeah, going back. I think I know what you mean, but I want to be sure our listeners know. Your family in the South insisted that you learn to fiddle.
Alexis Frenette:Oh yes.
J Stephen Beam:Tell us about what you mean by that.
Alexis Frenette:It's very different. You know, playing classical music versus fiddle music. The instruments aren't different. Everybody always is like what's the difference? But it's not obviously the actual instrument, but it's the style, how you play.
Alexis Frenette:In classical music there's a lot of vibrato. We tend to be reading music. It's definitely focused on like this is your specific part and you play this and then you know uniformity, different things like that and precision. But when you fiddle there's a lot of slides, there's a lot of double stops, there's a lot of improv, you know there's a lot of little trills or and there's much less vibrato. Actually, if you listen to a lot of fiddle players, most of the time they almost won't use it vibrato. Or if they do, it's much wider or it's like put in a different place. So it's just style, how you play it. A lot of double stops and a lot of courting, because you're kind of going back and forth between especially in bluegrass you're going back and forth, sharing solos between players. So there's like a specific melody and then you improv on top of that or you would put your own spin on it or things like that.
J Stephen Beam:Again for our listeners vibrato and double stops. What do you mean?
Alexis Frenette:So vibrato is when you're if you you place your finger on the neck of the violin and then you're moving, you're bending that finger, so it creates like when you're singing. You you place your finger on the neck of the violin and then you're moving, you're bending that finger, so it creates like when you're singing. It's the same thing as when you sing you have vibrato, you bend the wavelengths so that it gives it that extra kind of width. I guess it's kind of hard for me to explain too. But double stops is when you're playing more than one string at a time, more than one note at a time. Piano, you can chord, guitar, you can chord. You're using more fingers. You can play more than one Violin, we can do. The double stops will give you more than one note and it's like the basis of a chord with an extra interval. We also do chords, but because of the nature of the bow you can't always do them at the exact same time. You can do broken chords or arpeggios, but a double stop is when you're playing two notes exactly together. So it just it makes it sound like there's two instruments at playing at the same time, which is very, very cool, very fun. But yeah.
Alexis Frenette:So, mom, like we talking about that music school I was in in Connecticut there was an incredible fiddle teacher that would come and he lived there in Connecticut. His name was Stacy Phillips and just an absolute legend. A lot of the Mel Bay books that are written for beginner violin or fiddle, or not even beginner. He's got advanced books as well. He wrote and published. So a fun little tidbit. My brother and I, when we knew him, we did all his classes Because again, mom was like here's a fiddle class, you're doing this, and we're like cool. So we sat there and he would teach students by ear. A bunch of kids would be in there and he'd play a melody, we'd repeat it, he'd play a melody. So we learned how to improv and play by ear when we were young.
Alexis Frenette:Since Josh and I I don't know if it was just my mom pushing or he was like these kids can do this we used to go with him to all the contra dances up there in Connecticut and so what that would be, they'd be just call dances and then be like do-si-do, grab your partner. And so my brother and I, these little like 10, 11 year old kids, are there with Stacy playing with him at his dances. So he taught us all his tunes, all the tunes. And there's a book that he wrote it's called Beginning Fiddle Solos I believe it's one of the Mel Bay books, and there's a picture of Josh and I when we were little kids there in Connecticut, you know, and our last name was Rooks, so it's like the Rooks siblings or something 10 and 11, you know. So that's really really cool. But Stacy, just absolutely incredible. So he was really my first fiddle teacher, or my only fiddle teacher actually. I don't think I ever had another one after that.
Alexis Frenette:Another fun fact about that Well, I did a competition in Alabama the Atmore fiddle competition there, south Alabama or the South Alabama, not Atmore, those two different ones but in 2012 and I messaged him and I was like hey, I was like what do I do? Because I, you know, I hadn't really fiddled, like I hadn't been in that world long. I mean, I was mostly classical and I played fiddle music as well, but I had mostly been classical. And so he emailed me back some pointers and it was really good to connect with him again and I went and did that competition and won. It was the first female to win ever, I think it was like 33. It had been going on for like 33 years and I was the only girl to have ever won. Yeah, but it was again like Stacy's totally the best fiddle teacher ever you know, so we were really blessed.
Alexis Frenette:My mom always made sure we found the best teachers possible, so I've always been looking back and even knowing who they are today. We've always just been so blessed to have incredible mentors musically.
J Stephen Beam:Today you still play classical music when it's needed. I will share with our audience that you and your brother, Josh played at my son's wedding. His bride is from China and she wanted a particular piece played and I was blown away because it sounded like Asian music a bit. It certainly didn't sound like what I'm used to hearing here in the.
J Stephen Beam:States and your brother tried to explain to me what that was, but I got lost early on and nodded my head like I knew what he was talking about. So if you're presented with a piece from a different culture, then the notes are the same, I suppose, maybe in a different sequence or different arrangement. What is the difference?
Alexis Frenette:It usually ends up being different intervals. So when you say the notes are the same, like, yes, play a scale, it's eight tones Musically, the notes don't change, the frequency of notes don't change, they're going to be the same through piano, violin, everything. But the interval is what gives it a certain sound, especially culturally. I know in Asian music they use a lot of fourths. So instead of an interval, we use a lot of thirds, we use a lot of fifths. I mean, obviously we use all of them, but in a lot of Eastern cultures they use a lot of thirds, we use a lot of fifths. I mean obviously we use all of them, but in a lot of Eastern cultures they use a lot of fourths, which gives it that kind of like Eastern sound and it's really the sequence of intervals that are played that makes it sound a certain way, if that makes sense.
J Stephen Beam:It does, and you two seem to have no problem with it.
Alexis Frenette:Once you knew what you needed to play, yeah, Well, once you have, I mean and that's the thing about being able to read music, which is so important there's always that battle between which is better in the musical world. But neither are better. They're just different skills, right. But if you're able to read music, if it's written out, you can play absolutely anything. And that was one of the things growing up.
Alexis Frenette:My mom could never read music. She plays piano and she sings or she can read, but she can't read very well, and so when we started she was like you are going to know how to communicate this, and that's what I try to teach my students even, because if you can do both, you can musically do anything. If you can play by ear, you're going to be able to do things that people who can't play by ear can do. But if you can read music, vice versa, you know. So there's a lot of gigs that I get, especially, you know, certain churches and different things, or fiddle music. There's a lot of gigs that I get that they'll specifically hire me because they know they don't have to give me music. But then there's also gigs like, you know, an orchestra, they're not going to hire somebody who can't read what's on the page. You know. So being able to communicate in both ways is you can do anything musically.
J Stephen Beam:What do you do mostly now as far as your music is concerned?
Alexis Frenette:Right now I do a lot of fiddle. A lot of country. It does vary. I mean, I still sub with some of the symphonies and things at church. I do kind of a hybrid. You know, I I do have some, some places that I they're giving me music to read and things, but a lot of times I do play a lot by ear and especially being in Mississippi, there's a lot of need for a fiddle player. You know, I guess I do more fiddle now than I did before, but I did. I just finished my degree at William Carey, so that's different. As of last year I was doing way more classical than I am currently, but once I graduated kind of went back into fiddle world.
J Stephen Beam:William Carey is a local university here in our greater Hattiesburg Mississippi area. Well, one of the things that our audience won't know is that you composed and recorded for me, at my request, our little intro music for our podcast, which I'm eternally thankful.
Alexis Frenette:Thank you, it was an honor.
J Stephen Beam:I have asked Alexis to bring her violin today to play something for us, to bring her violin today to play something for us. But before we get to that, anything else you would like to say about your musical career and how you've come to be where you are today.
Alexis Frenette:So I think I do gigs. I do different things, but the main thing I do right now my brother and I have a music school in Laurel. We teach violin, piano, guitar, bass guitar and drums and a lot of that influence is for sure the music school that I was in as a child Because, like I said, my very first teacher. I remember just how bubbly she was and how kind she was and how encouraging she always was and I always felt like, you know, I could almost do anything because of the way that she taught. So that's what Josh and I do now. We have we do two recitals a year and we teach all different levels of students.
Alexis Frenette:So that's really my full-time thing. I have, you know, a huge love for teaching because how much it's helped me connect and just grow as a person and just talk about that creative. If you have it in you, you have to express it somehow, and so that's something that I love about teaching is facilitating the next generation of musicians and creatives and things. But yeah, that's basically all I do is my music and teach.
J Stephen Beam:You have a son, does he play violin?
Alexis Frenette:He does now. Yes, I started him on violin when he was four and he revolted against it because that's what mama did and that was not cool, you know. So he was not going to do it. He did piano and he did really well at that, but he wasn't really that into it. He did guitar and he just he, you know. Again, he's musical anyway, he sings nonstop and he's very, very smart. So he just finally started about a year and a half ago.
Alexis Frenette:He looked at me and it was just the funniest thing, in my opinion, because he goes, he's like mom, I think I'm going to regret this, but I want to learn how to play the violin. And it just made me laugh because, knowing him, he sat there and watched, you know, knew how much work it was going to take, because you know he's seen me, that's all I do, knew how much work it was going to take, but he's like, yeah, all right, I'm ready and that was it. And he's, you know, been been doing it ever since. But it just made me laugh. I'll never forget that. But yeah, he's doing really really well. He's got great tone, which is a big thing is. You know, tone on any instrument is something that you obviously teach. You try to teach, but sometimes it's something a student just has innately. So I'm very proud of him. He's doing really well.
J Stephen Beam:Again, as we get ready for Alexis to play, and I'm going to ask her in just a short time to tell us about the tune she's going to play. But she is the violin that you hear early on in our podcast, and the outro as well, and so I'm very honored that she would agree to do that for us. So tell us a little bit about the piece that you're going to play today.
Alexis Frenette:So this one is. It's called Ashokan Farewell and it's very standard. It was for the intro of the Civil War series, and so that's where it kind of came from, Ken.
J Stephen Beam:Burns.
Alexis Frenette:Ken Burns series. Yes, and it's a waltz, so it's in three-four time, and it's one of those pieces that, if you hear it, you know exactly where it came from, but for some reason I can't remember the composer right now.
J Stephen Beam:Maybe it'll come to us before this is over.
Alexis Frenette:Yeah, for sure.
J Stephen Beam:So, as she prepares to play this for us yes, this is a Ken Burns series where I first heard it and of course I thought man, that Ken Burns is amazing, jay Unger.
Alexis Frenette:Yes, unger, that's who wrote it there we go.
J Stephen Beam:And I thought that Ken Burns is amazing. He got this Civil War piece. How did he even discover this piece? So if our listeners have never seen the Ken Burns Civil War documentary, it's well worth watching.
J Stephen Beam:Many times during that series as they're talking about certain battles or whatever, the overlay of the violin or fiddle, whatever we want to call it playing this piece, the Ashokan Farewell is heard and, as I understand the story, he wrote this at a folk festival as it was finishing up So this is actually, at least compared to Civil War days, is actually a relatively recent piece that, to me, is so evocative and so plaintive and all of those words that writers use. maybe North Carolina, and he was kind of sad it over. It's a two-week brings forth memories for me of Civil War times, because that's where I first heard it, even in festival and so he sat down and wrote this piece in 19, I believe 84, maybe 82. That my young life. So it's a very special tune to me and she's agreed to play it.
J Stephen Beam:So, Alexis, would you play Ashokan Farewell for us please, and we'll finish with this. Thanks again for listening to our podcast. You can find me at jstephenbeam. com, my website. You can find information about my on that page. I have another book that'll be out early next year as well, but to keep up with what's going on in my writer's life as well as my podcast life, be sure to check out our website, jstephenbeam. jstephenbeamcom. And here to close us out is Alexis Frenette with Ashokan Farewell .
J Stephen Beam:Thanks again and God bless. Thank you free audio post production.
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