Hamish Napier "The River"
Own label, 2016
The album of young Scottish musician and composer Hamish Napier deserves some undivided listening. The river that this album is dedicated to is river Spey in the Scottish Highlands. The tunes on the album celebrate the beauty, the history and the life of the river. Teyr "Far from the tree"
I experienced this young London based trio this August in a beautiful concert at the wonderful "Folk at the Froize" in Suffolk, and was impressed by their virtuosity and originality. So I am delighted to present their powerful debut album "Far from the tree" here in Folk World. Featuring violin and guitar played by James Gavin, uillean pipes by Dominic Henderson and piano accordion by Tommy Black-Roff who is also lead singer, the three are ace players, blowing fresh wind into traditional tunes and their own compositions which are inspired by Irish, Scottish English and Cornish traditions. The selection of songs is exquisite and offers new and unusual interpretations of well known traditionals (e.g. "Banks of the Newfoundland" or "Huntley town") and poetry arranged to music (e.g. Yeat's "Hosting of the Sidhe" or Irish poets Stephen Muldoon's "Nothing grows"). Arja Kastinen "Emanel"
This album is all about the kantele, Finland's national instrument. Yet the album is as much about the location where it was recorded - the Emanuel Vigeland Mausoleum in Oslo, a barrel vaulted room with no windows and extraordinary acoustics. Arja Kastinen, on her fifth solo album, improvises on a range of kanteles and experiments with the unique room acoustics - with its 20 (!) seconds reverberation. A very different album with its very unique stamp.
Aoife Scott "Carry the Day"
This Irish singer stands out for her beautiful crystal clear warm vocals. Stylistically she successfully bridges Irish trad, contemporary singer songwriter and Pop. The album offers a great selection of self penned and other songs. Her own songs are very well crafted, with the first two tracks on the album, both written by Aiofe, being immediately convincing: "All along the wild Atlantic way", her love letter to the West of Ireland through the voice of an Irish woman who had spent her last 60 years in Canada,and "we know where we stand", reflecting on Irish identity. The remainder of songs are by contemporary songwriters and show a good hand of choosing songs. The musical accompaniment features guitars, bouzouki, fiddle, piano. Tuulikki Bartosik "Storied Sounds"
This is the first solo album of Estonian accordionist Tuulikki, following a successful duet album with English accordionist Hannah James. The music on this album is all composed by Tuulikki, and merges Estonian and Scandinavian traditions with her very own free flowing music style. Some of the tunes feature field recordings of nature,birdsong, urban life, and some turn to my liking too experimental towards a new age style - most notably in "Moon salutation". Yet there is also for me plenty to enjoy - Tuulikki is at her best when just playing and improvising on my he accordion; the music feels relaxed, spontaneous, dreamy, it's music for the soul.
Eva Deivert "Låtar från Bakgårn"
Swedish fiddler Eva Deivert has been known for a while amongst folk musicians in Sweden, Scotland and Ireland for her wonderful and imaginative compositions. Steeped in her Värmland traditions, Eva's tunes have a strong melodic influence from Irish traditional music. "Tunes from the backyard" is Eva's first album, and what a cracker of an album it is. In a home live recording session, Eva gathered for a weekend some of the best of Sweden's folk, jazz and blues musicians: Stefan Ekedahl on cello, Nina Perez and Ulf Johnson on fiddles, Bert Deivert and Mattias Perez on guitars, Christy O'Leary on low whistle and Fredrik Lindholm on percussion. Bodenes - Hamon & invites "Daou don dans"
If you are in the mood for the shrill yet melodic sounds of bombarde and French bagpipes, give this album a go. The Breton duo brings together Steven Bodenes - bombarde player and conductor of Bagad Kemper - and piper Sylvain Hamon. Yet this is not in the truest sense a duo album, and it's the guests that make the album such a success: most tracks feature wonderful young Breton singer Rozenn Talec with her expressive and energetic singing, and there are two superb guitarists - Julienne Le Mentec and Thibault Niobe - driving the music and giving it extra groove. A great Breton piece of work.
Deolinda "Outras Historias"
This portuguese four piece folk band presents a pleasant variety of Portuguese music which is full of life. Wikipedia refers to their music as "Neofado" - I found that there's plenty of Latin, some fado, pop, jazz, dance floor, all carried by the warm voice of Ana Bacalhau. The instrumentation is focussed on classical guitars and double bass, and the band members have a variety of background, including classical, convervatory trained, fado punk and jazz. Extremely popular in their home country - their second album was for 15 weeks in the Portugues top 10 - their music does have also internal appeal. Rachel Newton "Here's my heart come take it"
This stunning young Scottish singer presents on her new album with her beautiful voice exquisite versions of traditional songs. The songs are about love, mostly unrequited, and carry a sad beauty and calm. The musical arrangements are highly effective adding additional drama to the ballads, featuring Rachel's harp and piano, alongside drums, fiddle and the occasional brass input. This album is a beauty indeed.
Vicki Swan & Jonny Dyer "Paper of pins"
Vicki Swan & Jonny Dyer presents the best of English ballads - some traditional but most self penned, yet still closely aligned to traditional ballads. And if good quality folk singing and songwriting were not enough, this duo also plays an amazing range of instruments, some rarely seen in folk music, and play them very well indeed: Vicki plays nyckelharpa, oktavharpa, Scottish small and English border pipes as well as Swedish bagpipes, and flute, whistle and double bass. And Jonny can show off with guitars, gandola, bouzouki, accordion, piano, spinet, pipe organ, harmonium and cow horn. As you would expect from this, the album also features a few cracking instrumentals. Allan Taylor with Göttinger Symphonie Orchester "There was a time"
Allan and I go back a long time - some 25 years ago I met one of the grand singer songwriters of this world first, in what was my very first proper folk concert attendance, and the following years I saw him on annual basis. Ironically since moving to his home country England I have not seen or much heard of him - so it's a delight to listen to this very special project celebrating some of his great songs. Afenginn "Opus"
This new album of avantgarde Danish folk band Afenginn takes them into new dimensions of innovative folk music. Opus combines folk with classical music. A composition on four movements, the album takes the form of a classical symphony. There's something that brings the four movements together, yet each piece unlike in classical music just happened - as the sleeve notes put it it's the result if unforeseen circumstances. Composed largely by the bands Kim Raffael Nyberg, it was created on a tour of Australia when Kim got injured meaning that he had to stay in Tasmania for 40 days - plenty of time to come up with a great musical idea. The album feels like it is telling a story with its music, full of drama, featuring a great array of instruments: clarinet, violin, mandolin, piano, cello, bass, marim,ba drums, percussion, as well as guests on more violins and brass instruments. Overall the double album is instrumental yet a few songs are thrown in - in a "homemade derilic syntax error mash up language that we refer to as street Latin". The music sits somewhere between classical folk (no distinct geography though) world and other music styles An impressive piece full of ideas and musical talents, which successfully crosses musical boundaries.
Helene Blum & Harald Haugaard "Julerosen"
A stunning clear voice combined with a superb fiddler and a number of gifted guest musicians - what a recipe to record an album of Christmas music and song!
Ana Alcaide "Leyanda"
Ana Alcaide has created her own wonderful musical world where warm Spanish world music meets pop and Nordic folk sounds. This unique style comes as a result of the Spanish singer and musician having fallen in love with the nyckelharpa while in Sweden. Tobermore "Kisses"
Beautiful Irish traditional music with the occasional Irish or American ballad, played with skill and passion. Tobermore's roots are not apparent: the band members are fully fluent in Irish music - yet the band hails from the Netherlands. The tunes are the real strength of the four Dutchmen plus a half Irish half Belgian gentlemen; they are charming and appealing, featuring uilleann pipes, flutes, whistles, accordion, fiddle, guitar and bodhran. While the tunes are their strength, that does not mean that the songs are any bad - two American and two well known traditional Irish songs provide a great variation to the album.
O'Hooley & Tidow "Shadows"
This English duo has recently risen more and more to fame. Their new album starts with two superb hits: "Colne Valley Hearts" is a beautiful pop folk song inspired by the valley the duo lives in and the eccentrics to be found there, while "Made in England " is proving a real hit with great airtime potential as well as great biting lyrics - a powerful song mocking British rightist nationalists who campaign against migration whilst they like to go for all those things "made in England" - from curries and kebabs via pints of European beer to clothes made in Bangladesh. After this initial fireworks the rest of the album feels somewhat tame and does not reach quite the same heights again. Having said that, was the quality of the first tracks not quite as outstandingly high, the remainder would still stand out for the quality of the songs and their lyrics. Most of them are calm and reflective songs accompanied primarily by piano. One of the songs standing out from the remainder is "Beryl" with a ABBA style chorus, celebrating an inspirational Yorkshire lady. We Banjo 3 "String Theory"
Banjos and a blend of Irish and American Folk - this did not sound to me like a combination I personally would fall in love with. But - hey I do love We Banjo 3's music! Show of Hands "Long way home"
Steve Knightly and Phil Beer have, so it seems, been around forever wowing their audiences , in the UK and abroad, with their very simple concept. And on their latest album, the singer/songwriter duo does yet again what they are best at - picking great songs, combining them with their own ones, and presenting them in an intimate and mature style. On "Long Way Home", five songs are written by Steve, some on a traditional theme , others more contemporary (including a Blues). The others are traditional or written by contemporary folk artists (Gaughan/McNeill, two songs by Chris Hoban and one by Andrew Cadie). The focus of the musical arrangements is on the range of instruments of the duo - guitars, mandolin, fiddle, concertina and more, with only a few guests. Eric Bogle with John Munro "Voices"
Born in Scotland but long term resident of Australia, Eric Bogle manages again to achieve his trick - to create an incredibly warm, personal and intimate album. There are positive songs with a warm sense of humour - best showcased on "When I am dead" celebrates the things Eric loves (and doesn't like) on this earth. Producer Pete Titchener provides also a song in this spirit, about his philosophy of life called "Farewell to fitness" There are also serious, and angry, songs in the mix - "First the Children" about children in wars or "Freedom lost" about the persecution of various groups in Nazi Germany. Rachel Hair Trio "trì"
From Ullapool, North West Scotland, Rachel Hair started out to become one of Britain's foremost
clàrsach (Celtic harp) players. Having both a Scottish and Irish background, Rachel developed her
own particular style and built up a trio to suit her artistic vision.[33][38][39][48]
From the beginning the line-up has included Jenn Butterworth from Whithorn in Dumfries and Galloway,
who made a name herself as regular performer with Shetland's Fiddlers' Bid[40]
and plays a very percussive guitar.
The new addition is double bass player Cameron Maxwell from London, replacing James Lindsay
and Euan Burton who are busy with Breabach & Co; Cameron is using the bow quite a lot adding a
deep base to the thrumming and strumming of the girls. It is an unusual sound but it works
to great effect, being both challenging and stimulating.
Mick, Louise & Michelle Mulcahy "The Reel Note"
The Mulcahys are a musical family from Abbeyfeale in Co. Limerick in the west of Ireland.
Father Mick (accordion, melodeon) and daughters Louise (flute, uilleann pipes) and Michelle (concertina, fiddle, harp, piano) have released a
series of records, both solo and as a collective.[27][40][49][54]
In his youth, Mick had played with Joe Cooley, Finbar Dwyer and others in London pub sessions.
He had passed the skills he had acquired to his talented children, and their latest offering "The Reel Note"
is a tasteful selection of traditional Irish music whose brilliance does not hide behind pomp and hokum.
It is apparent that there is quite an interest in unusual tunes and unorthodox settings.
There are old pieces whose authorship has been lost in the mists of time,
classic tunes from traditional musicians such as Junior Crehan or Larry Redican
(quite ironically Larry's reel is titled "Forget Me Not"),
and also compositions by more recent artists such as Cape Breton fiddler Jerry Holland.
In turn, Thomas Connellan's "Planxty Davis" and Turlough O'Carolan's "Eleanor Plunkett" lead back into
the 17th century. Mick Mulcahy then wrote the jig "The Snow on the Mountain",
inspired by the snow-capped mountain tops of Killarney, and the reel
"The Rolling Hills of Brosna", which is a townland in the vicinity he was born and raised.
"Celia's Jig" has been penned by Michelle for her mother's enduring encouragement,
and "The Reel Note" is evidence that mum's faith and confidence has been justified.
Cillian Vallely "The Raven's Rock"
Cillian Vallely is a native of Co. Armagh, Northern Ireland, whose parents
Brian and Eithne had founded the well-known Armagh Pipers Club fifty years ago.[61]
That's were Cillian learned the trade of an uilleann piper and developed his particular approach
using chanter, drones and regulators - the full monty exactly!
Cillian's professional career as a piper began touring with the ground-breaking Irish step dance show Riverdance.
In 1999, he joined trad supergroup Lúnasa, replacing John McSherry.[55]
Cillian has recorded with Lúnasa's flutist Kevin Crawford,[39][40]
his concertina-playing brother Niall,[24]
and on some 60 recordings more, being a much-sought-after studio session musician.
Marcus Hernon "Kindle the Fire - Coigil an Tine"
Marcus Hernon is a flute player from Ruisín na Mainíoch near Carna in Co. Galway,
who also is a skilled flute maker. These days he mostly plays with melodeon player
Johnny Connelly, as well as the trio Fíghnis (Irish for Feenish Island) featuring
his brother P.J. (accordion) and Don Stiffe (guitar and vocals; see review below). Being a multiple All-Ireland champion
(including a duet title with fiddler Maeve Donnelly),[29]
Marcus is nevertheless highly critical of Comhaltas Ceoltóirí Éireann’s
hegemony within the field of traditional music ... and artistic downturn over the last
25 years, much of it having to do with how Comhaltas competitions appear to eschew the nuances of regional –
and therefore, personal – style.
Ciarán Somers "Now"
Ciarán Somers from Co. Carlow in south east Ireland,
who is currently playing with David Power[55]
and Donal Clancy[54]
as Pipers Union, started with whistle and pipes at the tender age of ten.
Sometime later he attended the All Ireland Fleadh in Sligo and became acquainted with
the wooden flute and the particular Sligo-Leitrim style of flute playing (e.g. the Chieftains' Matt Molloy).
Ten years ago, Ciarán bought a flute from Pol Jezequel in the Breton village of Guémené Sur Scoff,
where guitar player Nicolas Queménér (Arcady, Orion, Kornog, Celtic Fiddle Festival, ...)
was living at the time, resulting in an album in 2009. This time Nicolas Queménér did not only
play the guitar but was also responsible for engineering and the high-level production value.
Ciarán Somers' flute playing is distinguished by rhythm and groove.
Deeply rooted in traditional Irish music, he included other ethnic traditions.
"Now" features both traditional Irish and Breton music, retracing Ciarán's musical journey so far.
Ireland is featured with the familiar sequence of jigs, reels and polkas;
Britanny has been robbed by a couple of gavottes.
For good measure, he slips in the slow airs "Johnny Seoighe" and "Banks of the Barrow,"
the latter a rather special tune from his home turf.
Micheál Ó hAlmhain "Tuile agus Trá - The Flowing Tide"
Let's recall Ceoltoiri Laigheann! It was a musical group founded by Éamon de Buitléar, a former member of
Seán Ó Riada's[28]
seminal group Ceoltoiri Cualan, which also spawned a spin-off band we know as The Chieftains.
Ceoltoiri Laigheann continued Riada's formula of orchestrated traditional music,
equally reinterpreting ancient harp pieces as well as dance music from a late stage.
Playing alongside Paddy O'Brien, Mary Bergin, John Kelly, Paddy Glackin and James Kelly, to name just few,
Micheál Ó hAlmhain had been the uilleann piper on their 1972 album, "An Bothar Cam (The Crooked Road),"
and flutist on their 1975 album, "The Star of Munster."
Dublin bred and born though, Micheál Ó hAlmhain fell in love with a lady from Inis Oirr and eventually
moved to the Aran Islands altogether. His instrument fell silent, at least from a distance.
The year is 2016 now and his first solo album, dedicated entirely to the wooden flute and
backed up by Steve Cooney on guitar. Micheál's flute playing is as cosy as the Aran sweater he wears.
His selection of tunes is far off the beaten track. Besides the reels, jigs, polkas and hornpipes
I personally love Micheál's selection of clan marches, Carolan pieces and the beautiful
slow air "Eibhlin Gheal Chiuin".
Doolin "Doolin"
Celtic folk group Doolin, their name taken from the Irish fishing village praised as a musician's haven,
has been founded in Toulouse in 2005 and comprises six skilled musicians (guitar, bodhrán, violin, tin whistle, accordion,
bass).[45][53]
They travelled to America to record their (self-titled) fifth album with the help of
John Doyle[46]
of Solas fame[32]
for Alison Brown's[45]
Compass Records. Alison herself is featured on the five-string-banjo,
as well as Mary Shannon (four-string banjo),
Jerry Douglas (dobro)[60]
or Mike McGoldrick (flute).[41]
The theme of the album is the Great Irish Famine of 1845 and the following emigration to North America.
Sadness, solitude and hope are expressed through folk songs, and traditional Irish music
became one of the seeds of country, blues and bluegrass.
First song is guitarist Nicolas Besse's "Chanson Pour John" about starvation and emigration.
Next is a traditional dance tune followed by Brendan McGlinchey's "Splendid Isolation,"
featuring hypnotic African rhythms, not only because it fits musically but the group felt it important to make
a statement since 170 years after the Irish famine Africa is devastated.
There's more, e.g. Steve Earle's "Galway Girl",
Bob Dylan's "Ballad Of Hollis Brown",
Jacques Brel's "Amsterdam"
and a poem from Oscar Wilde's mother set to music by Nicolas Besse, the "Itinerant Singing Boy."
Adam Agee & Jon Sousa "Suantraí"
Suantraí is one of the three fundamental concepts of ancient Irish music,
which actually denotes slow, relaxing and graceful music including lullabies.
This here, however, is fast and furious traditional Irish dance music, though it is meant to be
comforting and genial.
Adam Agee and Jon Sousa are a young fiddler and guitarist from Boulder, Colorado, who play together since 2004.
Adam's fiddle is vivid, influenced by both European and American techniques.
Jon had studied with fingerstyle virtuoso Pierre Bensusan[52] and
developed a delicate picking technique, occasionally swapping the six-string for the four-string-banjo.
This album is a selection of their favourite tunes, mostly traditional though some original, which are turned
into imaginative arrangements.
It is a happy music from the very start, when Adam and Jon launch into the "Sporting Paddy" reel.
True to the album's title, however, they are more than capable to perform slow airs as well.
There is also a nice treatment of the song air "Maids of the Mourne Shore" and Scottish fiddler
Niel Gow's famous "Lament for the Death of His Second Wife".
In the very end, there is also an example of goltrai, that means sad music,
the haunting "Amhrán an Bhá" (Song of the Drowning).
"Visionaries 1916: Songs and music from the pens of Connolly, Pearse, Ceannt, and Plunkett"
Peadar Ó Riada "ONÓIR"
The Macalla Orchestra "The Macalla Suite"
Don Stiffe & Pat Coyne "Classic Irish Ballads - 2016 Centenary Souvenir"
2016 comes to an end and so are the centenary celebrations of Dublin's Easter Rising,
the failed attempt of the Irish to overthrow British rule in 1916.[59]
By the way, it feels a bit ironic that this is the same year that Britian decided to break away from the European
Union.[61]
Peadar Ó Riada is not only the son of the legendary Irish composer Seán Ó Riada,[28]
but a respected composer in his own right and the leader of several traditional groups.[43][52][53]
Seán is most famous for the musical soundtrack of the 1916 documentary film, "Mise Éire";[34][60]
Peadar's new work is a special commission by Gael Linn as part of the 1916 commemorations:
“I have always been interested in the poetry of our heroes. It is a window into their distilled thoughts and
feelings. My first ever composition was as an idealistic teenager and was based on a poem by Douglas Hyde
concerning the beauty of bees, their song and work. But Patrick Pearse has held a special place for me and of
all his poems, Móra Duit, a Thír ár nDúchais shows in 4 verses what Tír Ghrá means. I found in his poem
something that moved me greatly and I have tried, hopefully, in a humble and simple way, to help it to sing.”
ONÓIR, which translates as honour from old Irish, French and Latin,
is an attempt to musically retell the evolution of Ireland's national identity over the past centuries.
Riada's almost epic and cinematic score
features traditional group Téada[53]
(comprising fiddler Oisín MacDiarmada, Tristan Rosenstock, Seán McElwain, Damien Stenson and Paul Finn),
uilleann piper Mick O'Brien,[27]
harpist Oisín Morrison, the traditional male voice choir Cór Chúil Aodha (founded by Seán Ó Riada in 1964)
and its female counterpart Cór Ban Chúil Aodha. They still continue their tradition of singing in the local church
in the Muskerry Gaeltacht, Co. Cork, under the direction of Peadar.
The source material is quite varied. We get to hear the well-known 18th century aisling song "Mo Ghille Mear"
(My Gallant Darling; a lament by the Gaelic goddess Éire for Bonnie Prince Charlie)
as well as "Lament for Art O Laoghaire" (composed by Eibhlín Dubh Ní Chonaill for her husband,
killed by the English High Sheriff of County Cork in 1773),
and a Pearse poem set to music by Peadar.
A second attempt of an orchestral suite has been undertaken by a less prolific name,
well, at least beyond Ireland's shores.
Gradam Ceoil TG4 Composer of the Year and harpist Michael Rooney
who forms a duo with his flute-playing wife June McCormack, called Draíocht based in Co. Sligo,[29]
has composed several suites of music in the past decade, including "The Reconciliation Suite"
to welcome Prince Charles' visit to Sligo in 2015. The "Macalla Suite," commissioned for the Easter 1916 Centenary,
is an orchestral piece retelling the recent Irish history, starting with the Great famine of the 1840s,
reflecting the evolution of Irish nationalism, culminating in the Easter Rising and the War of Independence,
and finally ending up in the 21st century when Queen Elizabeth honoured the fallen
at the Garden of Remembrance in Dublin in 2011.
The score in six movements fusing traditional Irish and classical European and even elements of rock music
includes contemplative as well as aggressive moments
from an orchestra of more than sixty traditional and classical Irish musicians.
The score features traditional songs such as "The Bold Fenian Man", "The Foggy Dew" and "Óró ‘Sé Do Bheatha Bhaile"
(Pádraig Pearse had added extra verses to the Jacobite song);
Dubhghlas de hÍde wrote "Éireoimid Feasta, Tá an Lá Geal ag Teacht" in 1897 looking forward to an independent Ireland
(he served as the first President of Ireland from 1938-45).
Michael Rooney is a visionary composer and arranger. I particularly like to mention a fife & drum march
and a slowed-down reel played as countermelodies reflecting the pro-British Ulster Volunteers and the nationalistic
Irish Volunteers and their opposed characters.
With all these fanciful projects, one might easily forget that there is the ever popular
Irish Rebel Ballad which stirs up emotions and sympathies since the 1970's folk music revival up to the present day.
Told from the perspective of the ordinary people, these classic Irish songs relate to key events
and may serve as a historical guide through this era. There are
preliminaries like Sir Roger Casement on the lonely Banna Strand,
there's contemporary accounts such as about the executed young Republican Kevin Barry,
and songs written in the aftermath, from Canon Charles O’Neill's "The Foggy Dew",
Sean and Frank O'Meara's "Grace" and Michael McConnell's "Only Our Rivers Run Free".
Galway's Don Stiffe[49]
is one of today's popular folk singer-songwriters. In
2011 he was one of the finalists in The All Ireland Talent Show,
he is a guest vocalist with the Kilfenora Ceili Band[56]
and part of the band Feenish ft. Marcus Hernon (see review above).
Don knows how to tell a story, and he and his team (ft.
fellow ballad singer Pat Coyne (of Sean Keane's band)
fiddlers Fergal Scahill,[48]
and David Doocey, flutist Stephen Doherty and piano and bass player Ciaran Cannon)
guarantee maximum enjoyment.
By the way, these songs are never tiring and Don's Souvenir Album are a brilliant reminder of this.
Faustus "Death and Other Animals"
Ten years ago, English folk group Faustus evolved from an earlier quartet, Dr Faustus, featuring
oboe & fiddle player Paul Sartin and guitar, bouzouki, mandolin & banjo player Benji Kirkpatrick (alongside
melodeon player and singer Tim van Eyken and concertina player Robert Harbron).[28]
The band's name seemed to be a mix of the mythical character of Christopher Marlowe's play and the 18th
century march "Dr Fauster’s Tumblers."
Sartin and Kirkpatrick reformed the band, adding melodeon player Saul Rose,
while also playing with (recently disbanded) folk big band Bellowhead,[60]
Belshazzar' Feast, the Seth Lakeman Band, and Eliza Carthy's Wayward Band, respectively.
Benji Kirkpatrick had also released a couple of solo albums, lately folklorizing the songs
of his rock star hero Jimi Hendrix.[59]
Four years after the acclaimed "Broken Down Gentlemen" album,[50]
Sartin, Kirkpatrick and Rose became Artists In Residence at the National Centre for the Folk Arts, Halsway Manor, Somerset.
The material found in the huge library make up most of the "Death and Other Animals" album - well, did you
ever hear of the Ruth Tongue Archives? I haven't!
In addition to classic traditional English music such as "While Gamekeepers Lie Sleeping" and "Adieu to Bon County",
the trio presents songwriter Bill Caddick's "Oh to be a King,"
while Paul Rose set Olivia McCannon's poem "Gurt Dog" to music.
Original melodies sit alongside old words, "The Death of the Hart Royal" is from the 15th century,
and 17th century "Death Goes a Walking" has probably medieval origins.
Chartist leader William S. Villiers Sankey wrote about "Slaves"
Newly composed instrumental dance music by Paul and Benji is included as well.
This is music deeply rooted in the English folk tradition, executed with power and passion.
Mary MacNamara & Sorcha Costello "The Lady's Cup of Tea"
Mary MacNamara is an acclaimed concertina player from East Clare who has recorded several noteworthy albums.
The concertina and East Clare are one and the same in terms of traditional Irish music,
and Mary MacNamara has learned the trade from childhood onwards.
Until recent times mostly two row concertinas and one row melodeons have been used forcing traditional
musicians to an economical use of ornamentation and develop a different rhythmical approach.
Imagination and ingenuity come in spades here.
Clare musicians also had to tune down their instruments to F and C,
resulting in a cosy and bewitching sound.
Amala "resonance"
Reidun Schlesinger is a Belgian artist who plays the
Celtic harp since 1989 and the cross-strung chromatic harp since 1999. She has performed
with several folk groups in her native Belgium such as Amorroma,[47]
and she has written a tutorial for the Celtic harp, which is already available in German ("Mein Schlaues Harfenbuch"),
with an English version in the pipeline. Reidun moved to the Irish Co. Kerry in 2008, where she first formed a duo
with uilleann piper Barry Lynch,
and recently teamed up with guitar player Paul de Grae. Paul is originally from Dublin, but is also based in Kerry these days.
Way back in 1989, he has published "Traditional Irish Guitar," the first ever tutorial for Martin Carthy tuning DADEAE.
"Resonance" is their debut album, at the heart is traditional Irish music such as Sliabh Luachra polkas,
Carolan harp pieces and clan marches from Playford's 17th century English Dancing Master.
There is "The Blackbird" played as slow Jacobite song air, its Appalachian version and Donegal fiddler John Doherty's reel version.
The Amala duo looks beyond the channel with Belgian bourrées, French mazurkas and Swedish polskas.
They also feature jazz pianist Dave Brubeck's "A Girl Named Oli" and two experimental compositions,
the first a series of improvisations, the latter a mix of 7/8, 9/8 and 4/4 metres. Thus
they span different traditions, time periods and genres,
slide from faithful renditions to fancy variations and jazzy improvisations,
and create their own particular soundscape, which is nevertheless connected with its traditional base.
Project West "Project West"
It’s incredible where Irish music can take you... muses guitarist Sean O'Meara.
Since October 2015, Sean O'Meara,
Damien Mullane (accordion),[50]
Colin Farrell (fiddle),[57]
Kieran Munnelly (flute), Niamh Farrell (vocals, flute) and Stephen Markham (keyboards)
as well as step dancer Siobhán Manson have been touring America under the moniker of The Young Irelanders.
For the European launch of their debut album, the sextet
needed a more telling band name. They came up with Project West since all band members are connected somehow
to the West of Ireland. It's the place and the sound which informed and inspired the
new music based on traditional grounds. All band members are quite young but they are not novices but
veteran performers; some of them have played with popular outfits or have already released solo albums.
"Project West" then is a trad big band with music, song and step dance;
the full monty so to speak, with no need for further support or any balderdash.
The Project West soundscape is almost epic (bonus tracks even feature The Dublin Philharmonic Orchestra and the San Diego Brass Ensemble),
instruments come and go, though never cutting the roots of traditional Irish music.
Half of the tunes have been composed by the group members, and have funny titles such as
Damien Mullane's "The Badger that Tore Off Down the Road Wearing My Uncle’s Stilettos".
Niamh's song selection is imaginative,
including recent songs by John Doyle, John Spillane and show band guitarist Kevin Sheerin
("My Father's House" has been recorded by more than twenty artists including Irish country artist Daniel O'Donnell and
folk music revivalists The Fureys), and the 17th century Irish "Eileanóir na rún" by poet and harpist Cearbhall Ó Dálaigh.
Birlinn Jiarg "Seamount"
Birlinn Jiarg had been founded by Beccy Hurst (whistle, anglo concertina)
to perform the traditional music of the Isle of Man she grew up with,
such as the lullaby and children's song "Arrane ny Chlean",
the waltz/jig "Kiark Catreeney Marroo" (connected with a traditional procession on St Catherine's Day, Dec 6th),
or the reels "Illiam y Thalhear" (William the Tailor, I think I already heard it from Manx group Barrule)
and "Tra Va Ruggit Creest" (When Christ was Born, originally a Christmas carol).
Beccy is also a fine tunesmith, her compositions fitting in very well.
Birlinn Jiarg is completed by clarinetist and flutist Freya Rae,[58]
guitar and bouzouki player Alasdair Paul and bodhrán player Callum Younger.
I have two observations to pass on:
the rhythmical groove reminds me of the early work of Irish supergroup Lúnasa,[5]
whereas the flute/whistle duets recall the duels between Sarah Allen and Brian Finnegan of Flook.[31]
The clarinet, for sure, guarantees for a quite particular sound, which as a whole is innovative and powerful.
Kate Rusby "Life in a Paper Boat"
Kate Rusby hails from a living South Yorkshire singing tradition. For almost 25 years on the road,
she has become one of the best-known voices in traditional English folk music.[20][26][35][44][50]
Kate's 14th studio album "Life in a Paper Boat" joins a successful series. Though this time she wanted
more percussion (but no drum kit) and experiment with sounds and effects (but those that can be recreated on stage).
“The other fantastic sound ever-present on the album is the Moog, played by our amazing bass player Duncan
Lyall,” Kate adds, “it provides a sumptuous electronic layer that moulds perfectly to the songs like tinfoil on a
home-made space outfit!” Rounding off Duncan Lyall's double bass are
husband/producer Damien O’Kane (acoustic and electric guitars)[47]
Nick Cooke (diatonic accordion), Steven Byrnes (bouzouki & tenor guitar), plus a string section and
Ron Block and Dan Tyminski of The Alison Krauss Band. The song selection includes
the traditional "Pace Egging Song" celebrating the Easter tradition in which St George combats his challengers
as well as Scottish singer/songwriter Archie Fisher's very traditional-sounding "Witch of the Westmorland".
Kate has developed into a fine songsmith: the title track is an emotional account inspired by
the current migrant crisis (“I wish I had some answers, but all I have is a song.”), whereas
"Big Brave Bill from Barnsley" is a jolly anthem introducing Kate's superhero strengthened by Yorkshire tea.
dBize "Storm Party"
dBize are Yvonne Bolton from Co. Carlow (concertina,
fiddle, cello), Neil Fitzgibbon from Athlone (fiddle, guitar, vocals) and Paddy Morgan from Derry (guitar).
They have been touring for a couple of years and have eventually released their debut album.
Without taking any prisoners dBize jump from a waltz
("La Valse pour les Petites Jeunes Filles" composed by Colorado's Terry Rasmussen, so I'm wondering if this is
French, American or Scandinavian?) into a lively jig, then into a cheerful polka. The trio inspires its
audience with music from Europe's Celtic fringe all the way to the Appalachian mountains,
and celebrate a "Storm Party," to cite the title of a tune by Jean MacNeil.
Yvonne and Neil are hard to restrain, but Paddy is capable of holding it together with his skillful guitar playing.
For good measure, dBize throw in some tricky tunes, such as a couple of Dutch waltzes or "Fisherman's Lament".
Furthermore, Neil has a captivating voice, and divides the album in the middle with a fine rendition of
mystic poet William Blake's "Echoing Green" set to Neil's own tune.
The Celtic Fiddle Festival "Storm In a Teapot"
Way back in 1993 the Celtic Fiddle Festival has released its first album. It originally
was the playground of Scotsman Johnny Cunningham[27]
(Silly Wizard)[49]
and Irishman Kevin Burke[43]
(Bothy Band,[30]
Patrick Street).[24]
They enjoyed their spontaneous jam sessions and added third violinist
Christian Lemaître (Kornog)[19]
when realizing the great fiddle tradition of Britanny.
Over the following years, the Celtic Fiddle Festival toured both Europe and the US and recorded half a dozen albums.[51]
Johnny Cunningham passed away in 2003, and was replaced by French-Canadian fiddler Andre Brunet.
Aidan Coffey with Frankie Gavin, Alec Finn & Colm Murphy "The Corner House Set"
Aidan Coffey's rendering of the old Irish lullaby "An Páistín Fionn" (The Fair-Haired Child),
learned from the singing of Anne Mulqueen of Ring, Co. Waterford,
features on Brexit Blues[61]
This might be read as a protest note against division and for the reconnecting qualities of music.
Starting point for this recording then are "The Corner House" polkas (Mick Culloty's/The Knocknagoshel/The New Roundabout),
which were played many times in the Corner House pub at 7 Coburg St, Shandon, Cork City.
Aidan Coffey is a sublime accordionist, known as member of veteran supergroup De Dannan from 1988 to 1995.
He recorded with De Danann on "Jacket of Batteries" (1988) and "Half Set in Harlem" (1991).
Afterwards Aidan played in a duo with Seamus Creagh[9]
and occasionally teamed up with De Dannan's fiddler
Frankie Gavin.[23][37][44][59]
He is also featured on "Island to Island: Music from Ireland and Newfoundland".[27]
After a gig in Rotterdam in 2002, Frankie Gavin wrote a note suggesting he should do an album with his help.
During a session in the said Corner House pub in 2015, the note was still lingering in Aidan's accordion case.
He and Frankie put their heads and a couple of tune sets together.
Which they eventually recorded, later adding Alec Finn's[26][49]
bouzouki and Colm Murphy's bodhrán. (So this album reunites a legendary line-up, if only in cyberspace...)
Aidan Coffey & Co selected a regional and rhythmical variety of tunes, such as polkas and slides
from Sliabh Luachra (Cork-Kerry-border) as well as pieces from counties Clare and Donegal.
The final result is an enchanting album celebrating connectivity, solidarity and unity.
McCalmans "lost tracks"
Scottish folk singers The McCalmans got together in 1964.
They toured, recorded 400 songs, released 27 albums.[1]810][23][39][41]
Derek Moffat and Nick Keir passed away, the remaining Macs retired in 2010. However,
remembrance hasn't faded yet. Fans were asking for songs, since many recordings were never released on any album.
So Ian McCalman[30]
searched hundreds of tapes, mini discs, PC files etc. for lost tracks,
and employed dehissers, denoisers, noise gates, decracklers, de-dogbarkers.
The finalized album contains 19 tracks then from the three different Macs line-ups (plus
a guest spot of Barbara Dickson, who often sang with the Macs in the 1960s, at Sandy Bells' Pub).
There are rehearsals, studio and live recordings, songs from The Final Concert DVD,
plus the odd cassette copies of cassette copies.
There is a selection of traditional songs (such as "John Barleycorn", Burns' "Willie Brewed a Peck O' Maut"
or "Bonnie Ship The Diamond" and "The Greenland Whale Fisheries" from a 1976 radio programm about whales)
and contemporary folk songs (such as Gordon Smith's "Come By the Hills" and Dougie Maclean's "Caledonia").
"The Peat Bog Soldiers" (originally the concentration camp song Die Moorsoldaten as heard from German folk group
Liederjan) had been recorded for their 1980 live album. Ian McCalman wrote "So the Years Roll On"
with the idea that it would be the last song at their final gig. Which it was.
Natalie MacMaster and Donnell Leahy "A Celtic Family Christmas"
Isn't each Christmas so unique ... Christmas doesn't need to be what it once was, because as humans, we are ever growing and evolving ...
That's the motto for "A Celtic Family Christmas," the first seasonal album from Canada's fiddle playing husband-and-wife team
Natalie MacMaster and Donnell Leahy (well, Donnell actually did a Christmas album with The Leahy Family when fourteen years of age).
Natalie is the niece of the legendary Cape Breton fiddler Buddy MacMaster; she released her first album when sixteen,
followed by a series of high-flying records.[1][11][24][27][44]
In 2002, Natalie married Donnell of the acclaimed Leahy family group, and they made their home in Ontario ever since.
"A Celtic Family Christmas" is a concept album telling the story of Christmas night in the Leahy/MacMaster household.
Familiar Christmas ditties are mixed up with classic Celtic songs and put through the hoops.
So the album kicks off with the popular carol of French origin, "Angels We Have Heard On High",
finished off with Tommy Coen's well-known three-part reel "Christmas Eve" (which got its name because it was played
Christmas 1955 on Irish radio). There's Katherine Davis' "Little Drummer Boy" and Irving Berlin's "White Christmas",
a great medley combining such different pieces as Handel's "Joy to the World" and "Good King Wencelas."
After a fast and furious Sleigh Ride, Natalie MacMaster and Donnell Leahy get sentimental with "Silent Night" in the end.
The soundscape though is their particular brand of Celtic music throughout, both imposing and jaw-dropping,
roaming freely off the track paved by Santa and his reindeer carriage.
Emily Sanders, Chris Parkinson, Pete Morton "The Magical Christmas Tree"
Emily Smith "Songs for Christmas"
Scots singer Emily Smith[51]
helds an annual Christmas show in her home area of Dumfries and Galloway, which has grown over the years
and she will tour all Britain in 2016. With her are the three Magi
Jamie McClennan[40] (fiddle, guitar),
Matheu Watson[50] (guitars, viola)
and Ross Hamilton (bass, drums), and a selection of traditional and original carols,
delivered with fun and fervour in a particular Scots brogue.
Emily selected popular carols such as "God Rest Ye Merry Gentlemen,"
contemporary offerings such as Mindy Smith's "Santa Will Find You" and John Doyle's
"Merry Christmas to All and Goodnight," and her originals "Winter Song" and "Find Hope."
The spiritual "Heard From Heaven Today" and "The Blessings of Mary"
have been taken from the singing of Nowell Sing We Clear,
an American quintet that is performing annual Yuletide concerts and celebrating traditional
British/American Christmas with traces of older, perhaps pagan overtones.
Then there is the classic and outworn "Silent Night," in a beautiful version though,
and, less obvious, the popular end-of-show song "The Parting Glass" taken from the Irish folk song tradition.
Cara Dillon "Upon A Winter's Night"
For more than a decade, Irish singer Cara Dillon[22]
is releasing highly acclaimed albums displaying a sensitive vocalist.[34][38][54]
"Upon A Winter's Night" is supposed to be a contemporary folk music take on Yuletide,
reviving the traditional Christmas spirit that lies below all that 21st century schmaltz and kitsch.
The first song is the uplifting
"Upon A Winter's Night," written by her husband Sam Lakeman and son Noah,
summoning everyone to worship your new king and join with us in chorus.
The sentiment soon changes to reverence and reflection. The song selection is a
treasure trove of popular traditional carols such as "The Holly And The Ivy,"
"O Holy Night" (a captivating a cappella version sung with sister Mary)
and "Rug Muire Mac Do Dhia" (Mary Bore a Son to God), one of the oldest Yule songs in the Irish language.
All these carols are reinterpreted with much respect, but exuding briskness and vitality.
Perfect additions to the Christmas canon are originals written by Cara and Sam:
"Standing by My Christmas Tree" is a secular song of love and longing beneath the fir;
"Mother Mary" is a more religious lullaby, gently rocking the album to its completion.
Pete Seeger "Pete Seeger in England" [2 CDs]
In 1955, American folk singer Pete Seeger (1919-2014)[39][53]
refused to testify and name personal and political associations before Senator McCarthy's House Un-American Activities Committee.
This led to an indictment for Contempt of Congress and Seeger's professional career stalled.
On 4 Oct 1959, he played a sold out matinee performance at St Pancras Town Hall, London,
on a rare occasion he was allowed to travel uproad. The recordings exhibit the 40 year old singer, guitar and banjo player
chatting with the audience, then breaking into a picking pattern and singing songs from East Virginia across
the Deep Blue Sea all along to the Beautiful Nights in Israel. Pete's sister Peggy is sitting in the front row singing along.
With Hamish's whistles and flutes and piano at the core of the music, the album also features Sarah Hayes on alto flute, James Lindsey on double bass, Martin O'Neill on bodhran, and the original sounds of oystercatchers, herons, Curlew and the river Spey are also hidden in the music. Sit back, read the sleeve notes and let the music take your imagination to the stunning scenery of Speyside, to the gurgling river with its whirlpools and birds, the salmons and mayflies, angling and floating. If you do give it that level of attention this album will reveal itself as a poetic piece of art.
Sleight of Hand Records, 2016
Top notch music of one of the greatest bands that has come out of the English scene in recent times. Just go and get the album and see this great band live!
Temps Oy, 2016
Own label, 2016
This debut album sounds fresh, positive and youthful, and should stand out on its own merits - no real need to mention the family connections with two of Ireland's best known singers - Aoife's mother is no other than Frances Black and her aunt is Mary Black.
Root Beet Records, 2016
Gammalthea, 2016
The compositions featured on the album are beautiful, the recording feels spontaneous and fresh, and the music successfully combines the stark rhythmic style of Värmland with uplifting and melodic Irish music influences. A lovely album that I will never get tired of listening to.
www.pakerprod.bzh/Coop Breizh, 2016
Universal Music Portugal, 2016
A wonderful summer album full of sunshine, day dreaming and joi de vivre .
Own label, 2016
Wet Foot Music, 2016
Yet another very strong album of new English folk music.
Stockfisch, 2016
This project came about as an idea of the organiser of Italian Folkest Festival - to commission a classical composer and conductor, Valter Sivilotti, to compose music to go with some of Allan Taylor's classic songs. This album features the music played by Göttinger Sympphonic Orchestra, with Allan Taylor and his voice still at centre stage.
While we are used to Allan's song being primarily based around his guitar or piano playing, the orchestra arrangements add a new and very different dimension to the songs Allan's fans know so well - and it works very well. Allan is in very good voice too, and while at times it does come through that this is a format Allan is not used to sing to, it works very well. At times the songs get the feel of film scores, with the orchestra trying to mimic the emotions of the songs. The choice of songs include old classics, such as "Chimes at Midnight", "Win or Loose" or "The Merlin Cafe", as well as newer ones. The album comes in a book format, with full lyrics and background stories - this looks very good, but you may struggle as a result to fit it into your CD rack.
I probably personally prefer the best original versions of the songs but I can appreciate this album as quite a masterpiece of a project which allows to see Allan's great songs in a different light.
Westpark Music, 2016
Westpark Music, 2016
Danish folk singer Helene and Danish fiddler Harald started ten years ago a project which has since become a firm tradition in Denmark, Germany and Austria: an annual December tour performing Christmas music and song, with a host of guest musicians. Julerosen presents many newly recorded songs and tunes, as well as a selection of numbers from previous tours, often live recordings not previously released. The songs are mostly in Danish, some newly written, some traditional German or Austrian but put to Danish language, and there's also a Swedish and a Norwegian song in the mix. The songs are combined with gentle yet uplifting tunes. As guests, the album features nyckelharpa, percussion, Cello, double bass, guitar.
This is a beautiful gentle album for the midwinter season; it (as you would expect of musicians of this calibre) is completely free of kitsch and while it does not feature well known Christmas songs it has that special charm of the season. As a bonus the booklet features a few Christmas recipes. Only negative point is the large size of the cd packaging which does not fit into a standard CD rack - but that's a small point given how wonderful the music is.
ARC Music, 2016
Others may have taken this as a reason to play Swedish music, she brought the instrument alongside a distinctive Scandinavian musical influence back into her traditions. On her latest album this combination is played to greatest effect, creating clever songs that have the warmth of Spanish sephardic traditions with, for example, ancient atmospheric flute sounds but are combined with dark Nordic sounds on nyckelharpa, percussion and chants.
The album is themed around female legends from myths from around the world, with all of the songs written by Ana in Spanish. An album full of atmosphere.
Own label, 2016
Fine music this is indeed.
No Masters, 2016
Having experienced the duo live at FolkEast this summer, it was a delight to be able to review their latest album here.
Own label, 2016
This Irish band brings together two pairs of brothers - Enda and Fergill Scahill and Martin and David Howley- and my word are they brilliant. Featuring two banjos, guitar, fiddle and mandolin, plus a bunch of studio guest for the album, their tunes are so tightly played and have fire in their belly. The songs are a mix of their own, traditional and written by others, and most of them have a distinctive yet charming American bluegrass influence. And it's not only their version of Noelie McDonnell's "Happiness" that brings a wonderfully feeling of happiness to the listener. Watch out for this talented new folk boyband.
Own label, 2016
Good quality singing and songwriting, safely presented in a way that will appeal to Show of Hands audiences.
Greentrax, 2016
I was particularly moved by John Munro's tribute to his dad who passed away a ling time ago, a song that features his dads voice, and by a song sung by Eric written bySimon Wilkins for his late nephew who passed away aged24 in an accident,and whose parents decided to donate his organs to give new life.
March Hair Records, 2015
The Rachel Hair Trio's latest release, "trì", is a wonderful collection of lively dance tunes and
charming airs. Beginning and end introduce two of Rachel's issues and undertakings at the time being.
Rachel's compositions "Saturday Night Club" and "The False Walk" followed by the traditional Manx slip
jig "Ta Cashen" show her connection with the Isle of Man. Seems surprising, but as sought-after harp teacher
she toured the smallest of the Celtic nations, became acquainted with traditional Manx music
and eventually founded the Manx harp ensemble Claasagh.
(By the way, Rachel has published 3 books of harp arrangements and compositions to date.)[42]
The album closes with the traditional Norwegian "Rundtom I D Etter Christian Horne", which the
Rachel Hair Trio picked up on one of their annual performances in Scandinavian schools.
Inbetween these two pleasing sets, there is much more to have fun with.
There's Scotland past and present, a graceful quickstep from fiddler James Scott Skinner[25]
and a dodgy piece by jazz pianist Tom Gibbs (who also plays accordion once in a while).
Rachel herself wrote a couple of tunes, including a haunting lament for the late harpist
Esme Morris Macintyre, dedicated to raise funds for the Teenage Cancer Trust.
For good measure, Jenn Butterworth has brought in some songs delivered in a specific Scots tongue.
Jenn's original "Angel" displays her excellent songwriting, whereas the traditional "My Darling Fair One"
(an English translation of the Gaelic "Mo Rùn Geal Dileas")
and Allan Taylor's[61]
"Roll On The Day" about a friend's long suffering due to industrial pollution
is a showcase for her cordial but beefy singing.
© Walkin' T:-)M
Cló Iar-Chonnacht, 2016
© Walkin' T:-)M
Own label, 2016
Eventually he has released his solo debut, "The Raven's Rock," which turns out to be a
casual affair and a mature expression of his art.
There is always weight behind Cillian's playing, but you rather feel yourself comfy and safe
and far from knocked against the wall.
Brothers Niall feature on concertina and Caoimhín (of Buille)[59] on piano,
with fiddler Jeremy Kittel,[42]
guitarists Sean Óg Graham (of Beoga),[60]
Ryan McGiver and Paul Meehan (Lúnasa) and bodhrán player Brian Morrissey adding delicate touches to
this selection of traditional and original tunes.
By the way, Niall Vallely administered the
distinctive "40" march & reel which he composed for the 40th anniversary of the Armagh Pipers Club in 2006.
I cannot recommend enough to have a look at Niall's tune book, "Malfunction Junction – 101 Tunes".[56]
© Walkin' T:-)M
Own label, 2016
"Kindle the Fire", undertitled Pure Connemara Ancestral Dance Music,
brings us closer to the sound and athmosphere of Connemara, which is the part of Co. Galway that lies west of
Lough Corrib and the Barony of Ross (Joyce Country). This region has its specific musical character
and Marcus fears that there will be no regional style after my generation is gone. For example,
he wonders and complains that somebody put on the brakes:
the reels have been slowed down now to the pace that I would play hornpipes.
This album is no academic lesson though, you will have fun for sure.
Marcus Hernon is a well-informed and powerful player. He plays mostly reels,
traditional ones as well as recent compositions from Holly Geraghty or Billy McCommiskey,
which are played straight with no prisoners taken. Some sets recall a céilí band, others
move into a folk rock direction. Marcus' sons Breandán (fiddle) and Proinsias (accordion)
are his guests, and it is great to know that the fire is not only kindled but the torch is passed on to another generation.
For good measure, Marcus gives us a break or two.
He wrote the slow air "Siolla gon Ghaoth" for the 25th anniversary of the Joe Heaney Festival of Traditional Singing in Carna.
The album also features two songs: Don Stiffe belts out his own "Connemara My Home,"
of course a paean about their native place; Mary Éinniú,
who is a grandniece of sean-nós legend Joe Heaney and Breandán's girlfriend,
has chosen a different kind of song, "Waterbound," written by Appalachian fiddle and banjo player Dirk Powell.
© Walkin' T:-)M
Own label, 2016
© Walkin' T:-)M
Gael Linn, 2016
© Walkin' T:-)M
Compass Records, 2016
Doolin are an all-French band but play traditional Irish music with ease.
Though connected with the roots and traditions, they employ a phat sound, with lots of things
going on at the same time, at times taking their inspiration from jazz and rock music.
The final track is Sinead O'Connor's "Famine," a funky rural-urban trad-rap crossover,
which leaves me wondering what the next step in the band's evolution might be.
© Walkin' T:-)M
Own label, 2014
© Walkin' T:-)M
Own label, 2016
Gael Linn, 2016
Doorla, 2016
Own label, 2016
© Walkin' T:-)M
Westpark Music, 2016
© Walkin' T:-)M
Own label, 2016
"The Lady's Cup of Tea" is the recent album of Mary MacNamara and her fiddle playing daughter Sorcha Costello,
who have been influenced by her mother, for sure, and local artists such as Martin Hayes.[35]
Mary and Sorcha have been playing together for nearly Sorcha's whole life, so they have developed a great mutual understanding
and perform with relaxation and charm. They selected some classic dance tunes, though in interesting versions.
Geraldine Cotter (and Sorcha’s brother Pádraig Costello) provide sympathetic accompaniment on the piano.
© Walkin' T:-)M
Own label, 2016
© Walkin' T:-)M
Own label, 2016
© Walkin' T:-)M
Own label, 2016
© Walkin' T:-)M
Pure Records, 2016
© Walkin' T:-)M
Echowreckids, 2016
© Walkin' T:-)M
Loftus Music, 2016
For their 7th album, Brunet in turn has been replaced by Scotland's Charlie McKerron
(Capercaillie, Session A9)[51][52]
which means a return to the accentuated fiddle music of the Highlands and Islands complementing and contrasting
Kevin Burke's meaty Co. Sligo style and Christian Lemaître's hypnotic fest-noz style.
"Storm In a Teapot" includes solo sets, showcasing the individual Celtic styles, followed by duet and ensemble pieces.
Scottish music is represented by classic marches, strathspeys and reels and Alexander Troup's stately air "Cluny Castle, Inverness-shire".
Britanny offers some gavottes and an dros, Ireland some reels and Carolan harp pieces.
It all comes together in a raucous set featuring Christophe Quemener's "Noctambule Reel" followed by
(Irish-American) Ed Reavey's "Love at the Endings" and (Scottish) Iain MacPherson's self-titled reel.
The aptly named "Storm In a Teapot" though starts with a Galician-style bagpipe tune written by Patrick Molard,
followed by a traditional Galician muiñeira. This is a kind of jig, and the most alien of this recording.
Let's not forget that the trio's masterful accompanist is the well-known Breton guitar player Nicolas Quemener
(Arcady, Kornog, ...), who plays a brilliant guitar solo as well.
© Walkin' T:-)M
Riverboat Records/World Music Network, 2016
© Walkin' T:-)M
Greentrax Recordings, 2016
© Walkin' T:-)M
Own label, 2016
© Walkin' T:-)M
Fellside Recordings, 2016
There is a house in New Orleans they call the Rising Sun,
And it's been the ruin of many a poor boy and God I know I'm one ...
The album kicks off with the familiar lyrics of the American folk song
"The House of the Rising Sun," which became a big hit for The Animals in 1964.
The tune, however, is the popular Christmas carol "O Little Town of Bethlehem,"
written by rector Phillips Brooks (Church of the Holy Trinity, Philadelphia) and set to music by his organist
Lewis H. Redner in 1868, which has been recorded by the likes of Ella Fitzgerald,
Elvis Presley, Bob Dylan and Garth Brooks. So bizarre it may sound, I think
"The House of the Rising Sun" makes a fine a capella Christmas carol.
For ten years
every December, singer-songwriter Pete Morton[38][59]
(guitar, vocals) has teamed up with Emily Sanders (fiddle, vocals)
and Chris Parkinson[18][50]
(accordion, melodeon, vocals) to do a seasonal tour. The Magical Christmas Tree
is decorated with scrolls which might have songs, dances or pranks written on them.
The audience is invited to choose a scroll and the trio have to do whatever is written on it, respectively.
Some of the most popular features have been collected on this album.
There's the ancient "Wexford Carol" and the originally French hymn "What Is This Fragrance?" (Quelle est cette odeur agréable),
the drinking song "A-Roving on a Winter's Night" and Christina Rossetti poem "In the Bleak Mid Winter,"
newer songs such as songwriter Graeme Miles' "The Snows of Winter Fall" and Seven Billion Eccentrics more...
Besides being highly entertaining and displaying high-class performances,
it is a great reminder that Christmas is supposed to be a merry and joyous occupation after all.
Guess how the album finishes off? Yes, it's the words of "O Little Town of Bethlehem,"
but the tune is "The House of the Rising Sun." (By the way, did you notice that the tune
is quite similar to the Child ballad "Matty Groves," which British settlers probably brought to America?!)
O little town of Bethlehem
How still we see thee lie
Above thy deep and dreamless sleep
The silent stars go by
Yet in thy dark streets shineth
The everlasting Light
The hopes and fears of all the years
Are met in thee tonight ...
© Walkin' T:-)M
White Fall Records, 2016
This selection is a reminder that Scotland has a difficult history with Christmas,
the Reformation had abolished all festival days and thus the Yule Vacance,
so there are no particular traditional Scottish Christmas songs.
Emily has uncovered an almost forgotten piece though,
the ancient Scots "Christ Has My Hairt, Ay" which ex Battlefield Band's Alan Reid had put to music.
© Walkin' T:-)M
Charcoal Records, 2016
© Walkin' T:-)M
Fellside Records, 2016
In 1961, Pete Seeger was sentenced to jail, but a Court of Appeals finally overturned his conviction.
There had been many benefit concerts in Britain to raise funds,
and Seeger musically repaid his debts during a 11 month tour around the world.
In February 1964, he played the Free Trade Hall, Manchester. The set list now includes many of
those songs that Pete Seeger is associated with today, "We Shall Overcome" for example;
he also champions the new wave of folk songwriters, including topical songs from the pen of
Bob Dylan, Malvina Reynolds and Tom Paxton.
(Compare to 1965's Carnegie Music Hall Pittsburgh[41]
and 1967's Schaubühne Berlin![35])
Both concerts had been recorded. Whereas the St Pancras Town Hall concert had been released on two LPs
by the Folklore label, but had limited circulation, the Free Trade Hall concert has never been heard before.
The final release shows Pete Seeger at the peak of his stagecraft and musicianship. He
is in complete control of the people,
which is quite ironical because ABC-TV had blacklisted him on the grounds that he couldn't hold an audience.
The double album has excellent sound quality, as a bonus many rare songs are featured and it comes with illuminating liner notes.
© Walkin' T:-)M
