Growing up, Tique spent a fair part of her childhood in bars, listening to jukebox country classics.  She learned piano by ear because it was there, hoping one day to play Hoagy Carmichael as well as her uncle. She played the guitar because everybody did, mostly everything Joan Baez ever chose to sing. She loved the rock and blues and country of her youth, but her path also took her to folk and traditional forms.    She hit her stride when she found traditional old timey string band music, and bought her first fiddle, leading her to experiment with music from around the world.  A lifetime of fooling around with musical forms of every sort has brought her back to the rock ballad style of her generation, because there are still so many stories that need to be told.

 

Now she composes her own music, informed by a rich set of influences. Tique is not afraid to imagine Robert Johnson and the Klezmatics in the same ensemble, there to accompany Lhasa de Sela for the evening. She can imagine Bob Dylan backed up by Gid Tanner and the Skillet Lickers. She wants Paul Simon to do an album with a mariachi band, oh so badly.

   

Tique is not exactly a spring chicken.  If you know this expression, you are probably from the same era.  Her artistic contribution is to move the music of her youth beyond the usual themes, embracing a wider variety of life issues.  Tique creates music that, while respecting its roots, moves forward with her generation to the present day.  Social situations, joyous liberty, and especially love, are all just as important as ever. But they look different to us now.  

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Whortleberry Hill Studio

Tique's music would not be possible if it weren't for Whortleberry Hill Studio in Haverhill, New Hampshire,  and the talented recording and engineering done by Ray Fuerschbach.