FolkWorld Issue 42 07/2010
Label:
Own Label; 2001
Label:
Own Label; 2008
www.musicfromthegarden.com
Pío Fernández
Label:
Midwich Records; 2009
Accordion and fiddles accompany the beautiful singing on "Maelstrom", a perfect opener for a CD influenced by the folk tradition of the British Isles as well as Norway. Fine guitar playing is added to bring forward "Lynx", a rhythmic folk song with wonderful singing and on the beautiful ballad "Weaver" piano and fiddle caress the hauntingly beautiful voice of Denny. The title song is a brilliant shanty with breathtaking a Capella singing and "Rown, Birch and Cloudberry" an awesome instrumental waltz. My favourite song is "Midsummer, Midwinter". Harrison's tender piano and Denny's soulful singing start with a gorgeous melody, the others join in and the sheer beauty is doubled with stunning fiddle and mandolin soli and the final choir.
Hailing from Essex with striking songs and tunes The Kittiwakes create an exceptional scenery. One of the best new folk bands, hopefully they will come to festivals and gigs in continental Europe.
thekittiwakes.com
Adolf 'gorhand' Goriup
Label:
Navigator Records; 2009
Causley's beautiful baritone voice and energetic accordion playing together with brilliant rhythm changes and the first class musicianship of the members of Mawkin make "The jolly Broom Man" a breathtaking opener; these young guys are awesome. The terrific pace of "L'homme Armé", sung in French and English, is a perfect showcase for their musical talent. "Drummer Boy for Waterloo" is a sad and dramatic ballad with beautiful guitar and fiddle playing. No matter if they play the Tango (Keeper of the Game), the Blues (Cutty Wren), or traditional Celtic tunes (Tune Set) you nearly can't refrain from daring a few steps. The songs are sophisticated and feature the modern sound of pop music (Greenlander) as well as traditional Folk (Cropper Lads). Finally accordion and fiddle sing together with Causley "I am the Song", another beautiful trad-style song.
Mawkin : Causley have provided an album that will certainly catapult them into top acts on the folk scene. Unfortunately I listened to this CD too late to include it in my best of list 2009 (FW#41), it would figure on top of it.
www.myspace.com/mawkincausley
Adolf 'gorhand' Goriup
Label:
Thistle Pricks Productions; 2002
Label:
Thistle Pricks Productions; 2003
Label:
Thistle Pricks Productions; 2005
Label:
Thistle Pricks Productions; 2008
The 2002 CD includes 15 traditional, original and covered sets and offers hornpipes, jigs, battle tunes, airs, marches, slip jigs, reels, strathspeys, laments as well as the unofficial Scottish anthem "Flower of Scotland". The studio recordings give a good idea of the energetic and intoxicating live performances of the guys. A good sample of their ancient music transformed into the 21st century is the "Wicked Tinkers" set, composed of a tune sent to them by fiddler Michael Mullen, another one by their friend Don Varella, who unfortunately passed by before being able to have a listen to the recording, and two original tunes by piper Shaw. The combination of the Highland Pipes, the didgeridoo, tribal drums and the Irish horn transports you to a time more than 3000 years before and arouses pictures of ceilidhs and battle scenes in ancient times. Guest performances by Tim Martin on bones and Scott Fraser on the Turkish darabuka complete the Line-up.
The two Live CDs were recorded at Highland Games and in Pubs all over the States and feature tracks from their three studio albums. The first one was still recorded with Belgar and offers amongst other tracks a pipe solo performance on "Danny Boy", a mesmerizing "Belly Dance", Shaw's dramatic "Seal Set", a wonderful interpretation of "Amazing grace" on Highland Pipes, a lot of ranting and daffing with the audience as well as the intoxicating "Jam with Men of Worth", featuring lilting Donnie MacDonald on octave mandolin and James Keigher on bodhràn.
Whisky Supper is recorded almost live, which means that they have rerecorded the didgeridoo and Irish horn parts with Tyler Spencer in the studio. Nevertheless you get the Live feeling when you hear the vivid participation of the audience on "Black Bear", Casey's terrific bodhràn solo on "Fiollaigean", Jones' brilliant djembe playing on "Toasty" or Shaw's saucy a Capella singing on "Farmer". My absolute favourite is "Wicked Bough", performed at Long Beach Celtic Music Festival together with their chummy band Golden Bough. Paul Espinoza (octave mandolin, guitar) sings a beautiful duet with Margie Butler (penny whistle, bodhràn) and Kathy Sierra adds her violin playing to the traditional song "Sixteen come Sunday" and two traditional reels complete the set.
On their latest album the Tinkers provide more singing and vocals as well as the sound of the Irish Uilleann Pipes. It starts with the rhythmic traditional "Dean Set" introducing their new didgeridoo player Atwood. "Donald MacGillivray" is a perfect showcase for Shaw's brilliant singing and Michael Mullen's fine fiddling. Bodhràn, snares, the floor tom, whistle, didgeridoo and Irish horn create a fantastic groove and make this set my favourite. Michael MacFarlane adds his singing to Shaw's lead vocals on the hypnotic "MacFarlane's Lantern", another highlight on the CD. Besides traditional tracks and cover versions we can hear original Shaw tunes like the terrific "Small Pipe Set" spiced with Shaw's intoxicating trumps (jaw's harp) playing. The final set "Shenavallie Farm" stands out with Atwood's fascinating didgeridoo playing and Lesa MacEwan's beautiful harmonic singing.
The Wicked Tinkers are the American way of German "Mittelalterrock". I like their outstanding and fascinating sound.
www.wickedtinkers.com
Adolf 'gorhand' Goriup
Label:
Westpark Music; 2010
They start off with the hauntingly beautiful "Introduction", a perfect showcase for their brilliant solo and choir singing accompanied by tender guitar playing. There are some sparkling guest appearances as well. Belinda O'Hooley adds her virtuoso piano playing to the ballad "Pickle". "Wagner at the Opera" deals with a concentration camp survivor swinging a rattle to disturb the premiere of an opera written by the Nazi's favourite composer in Israel; the song stands out with breathtaking a Capella singing. Fascism can also hide behind other dogmas like Stalin's or the communist state's ideology. "The Devil's Interval" is a rhythmic folk song with awe-inspiring playing together of Jon Boden on fiddle and Ray "Chopper" Cooper on cello and "Hammer, Stirrup and Anvil" a song with a classical touch and the Whingate String Ensemble playing a gorgeous air. The British National Party reclaimed the unique right of British folk music for their fascistic aims. Together with the No Masters Co-operativists Chumbawamba ridicule the British neo-fascists on the classic shanty "Dance Idiot dance". Other contemporary problems are covered on the cool and jazzy song "Torturing James Hetfield" (Metallica music being used as a torturing method in Guantanamo) or on the sensitive "Missed" (isolation of the I-pod generation). Cello and strings embellish the lovely singing on "Underground" which tells the story of a teenager listening secretly to a transistor radio under his pillow and a Capella singing in march rhythm reminds us of songs sung by the soldiers going to fight in the first World War. And last but not least The Charlie Cake Marching Brass Band and Jo Freya on saxophone deliver a stunning performance on "Ratatatay", an intoxicating pop song.
Chumbawamba have recorded an album full of wonderful songs, reaching from ballads and folk songs to Pop and Jazz. First class musicians and superb singers got together to make a statement against the small-mindedness and cruelty of fascistic ideas and politics, the run for fame and money in our modern society and the successional isolation of the people. And their receipt for a better life is song and music.
www.chumba.com
Adolf 'gorhand' Goriup
Label:
Compass Records; 2010
Tuned in within a glimpse of an eye (Nuala makes reference to Timothy O'Leary's understanding of the word) it starts off with two original tunes, "Footsteps/Julian and Iwona's". The guitar driven playing together of Alasdair White on fiddle and Nuala on flute is absolutely gorgeous. Nuala's beautiful singing on her love song "All of these Days" is accompanied by guitar and Ryan Quigley's fine trumpet playing and she sings the romantic traditional Irish song "My true Love" in English with Brian Kellock on piano, Oliver Schroer on strings and Lea Kirstein on cello. My absolute favourite is the traditional "The Waves of the silvery Tide". Guest singer Bonnie Prince Billy from Kentucky sings a beautiful duet with Nuala, the pace accelerates with Julian Sutton on accordion, Mario Caribé on double bass, Mike Bryan on guitar, Donald Hay on percussion and then comes the breathtaking sound of Nuala's whistle, supported by Iian MacLeod's mandolin and White's fiddle and the soft ballad turns into an intoxicating folk song. Nuala sings the traditional Donegal song, "Thíos cois na trá" (down by the strand) almost a Capella, Nicolas Boulerice playing hurdy gurdy and Nuala replacing her voice at the end with the b flat flute. The final instrumental tunes "Five Mile Town/Cider Street/The New Yorker", two self-crafted and the middle one by Iian MacLeod, are brought forward by a ten piece line up including whistles, flutes, trumpet and flugelhorn as well as guitar, mandolin, bass, fiddle, percussion, piano and accordion. The epic journey starts as a tender air and with rousing rhythm ends with a groovy reel.
Nuala Kennedy is a brilliant flute and whistle player with a hauntingly beautiful voice and she composes terrific tunes and lovely songs. The musicians are first class and the arrangements extraordinary. Have a listen to her modern and creative folk music.
www.nualakennedy.com
Adolf 'gorhand' Goriup
Label:
Steam Pie Records; 2010
Field sings the mesmerizing traditional ballad "Mil Harddach Wyt" to the sensitive harp playing of Jenkins before the others join in. Following up a set of rhythmic choir singing (Hen Ferchetan) and an intoxicating tune (Coleg Y Brifysgol Abertawe), brought forward with passion and virtuosity. Jenkins' solo performance on the amazing instrumental track "Llwytgoed/Owen's Jig/Bedd Y Morwr" is awesome. Last but not least Jenkins adds her superb harp playing to another for me unpronounceable dance set "Mwmpwy Portheinon/Breuddwyd y Wrach/Pibddawns Owen Huw".
An unfortunately short but striking sample of Welsh folk music. Brilliant musicians and fine singers found together to offer a taste of their outstanding music.
www.allanynyfan.co.uk
Adolf 'gorhand' Goriup
Label:
Fellside Recordings; 2010
It starts off with the traditional "Helen O'Kirkconnel", here performed as a beautiful piano ballad with Weatherby's wonderful singing. Burns wrote "Willie Wastle" and Weatherby interprets it solo with breathtaking cello accompaniment. The banjo and guitar driven traditional song "The Gardener" stands out with the two hauntingly beautiful voices and Weatherby's instrumental set "Paddy Parish/Alick's Reel/Jim Trease's" is a perfect showcase for the brilliant musicians. Bodhràn and fiddle set the pace, bouzouki and cello join in and create an awesome sound, somewhere between intoxicating dance tune and classic elegance. Singer/songwriter David Scott wrote the beautiful words for the sad Weatherby song "Yet shall you live" and she sings them with much devotion accompanied only by the soft tones of the piano before viola and cello add their tender playing. Weatherby's cello playing on "Tam's Swagger/Time or Tide/Witches' Dance", another of her great compositions, is awe-inspiring.
Weatherby's reputation as one of Scotland's best musicians and singers will be confirmed by this outstanding CD. The line-up is excellent and the arrangements are perfect.
www.wendyweatherby.co.uk
Adolf 'gorhand' Goriup
Label:
Rounder Records; 2010
The cover versions include Peter Knight's (Steeleye Span) rhythmic folk song "Seagull", Gordon Lightfoot's tender piano ballad "Your Love's Return", Glenn Yarbrough's romantic guitar ballad "Leave tomorrow till it comes" and last but not least a brilliant version of Mark Knopfler's (Dire Straits) "Fare thee well". The song starts with Fiona's passionate and lyrical singing accompanied by simple guitar playing before the pace accelerates with Claire's gifted fiddle playing bluesy guitar sequences and great choir singing which leads to Claire's beautiful interlude "The purple Wave"; this Celtic Bluegrass is definitely my favourite song.
They recorded three instrumental tracks: the original "Overture" which appears regularly woven into other tracks, three beautiful traditional guitar tunes (The Munster Suite) brought forward with much skill and three intoxicating fiddle tunes (The Contradiction Set) that showcase perfectly their musical skills. Fiona's clear and crystal voice dominates her self-crafted piano ballad "On a Pier" as well as her beautiful love song "Hymn for N".
The Cottars also introduce some excellent traditional songs. "Young Munro", an old Scottish song transplanted to Cape Breton, stands out with perfectly harmonious backing vocals by Fiona and Ciaràn and Claire's amazing lead vocals and fiddling. "The 23rd of June" is a rhythmic Irish song featuring awesome Choir singing accompanied by bodhràn and lilting and with "Oidhche Mbath Leibh", a Gaelic farewell, the four Cottars and their friends and guest singers say "Goodnight to you".
The Cottar's fourth album is an extraordinary opus and a perfect showcase for their brilliant musicianship and their hauntingly beautiful voices. Still pretty young these guys have developed impressing musical competences.
www.thecottars.ca
Adolf 'gorhand' Goriup
Label:
WildGoose Studios; 2010
The CD starts with the dramatic title track, a beautiful song and perfect showcase for Hazel's angelic voice, and the soft Morris tune "Saturday Night". The following dance tunes accelerate the pace and stand out with brilliant playing on both, violin and melodeon. One of the highlights is "The Bonny Bows of London Town" with Hazel's soulful and rhythmic singing and Emily's wonderful violin playing and backing vocals. But there're also an intoxicating hornpipe set, the superb epic ballad "Lord Bateman" or the short a capella song "Jack the Jolly Tar". The latter stands out with breathtaking duet singing of the two siblings.
No matter if The Askew Sisters play their up-beat dance tunes, tender ballads or rhythmic songs, there's always a touch of chamber music to their arrangements. The sheer beauty of the two voices and the excellent playing make the album an outstanding work of British traditional music.
www.askewsisters.co.uk
Adolf 'gorhand' Goriup
Label:
Lúnasa Records; 2010
The five brilliant musicians start the musical journey with Crawford's "The new Day March" and they lead us through traditional and contemporary tunes from Brittany, Ireland and Galicia and by the way they play some more stunning original tunes from Crawford and Vallely. The music of Lúnasa stands out with breathtaking rhythms created by Hutchinson's driving bass and Meehan's terrific guitar playing as well as with inspired whistle, flute, pipes and fiddle solos. Máire Breatnach joins the guys on fiddle and viola when they play "Tro Breizh", a set with three beautiful Breton tunes, and on "Island Lake", an awesome original Crawford set. Vallely adds the three track set "Doc Holliday's", a perfect showcase for his virtuoso piping, Smyth's outstanding fiddling and Crawford's excellent whistle playing and Staffan Astner plays electric guitar on the wonderful traditional set "Unapproved Road". The loop closes with Crawford's "The Shore House Reel" featuring Gerry O'Beirne on ukulele and steel guitar.
"Lá Nua" is another masterwork of Irish/Celtic folk music brought forward with traditional instruments by some of the best contemporary musicians in the folk scene. They go further than most folk musicians and cross the border to jazz and chamber music, have a listen!
www.lunasa.ie
Adolf 'gorhand' Goriup
Label:
Lúnasa Records; LRCD001; 2010; 10 tracks, 47 min
I'm assuming you all know the Lúnasa line-up, but there has been a recent change. Donagh Hennessy has vacated the guitarist's chair for the formidable Paul Meehan. Maybe that's shaken up the mix a bit, but the guitar itself is as steady and subtle as ever. The rest of the group are playing with more abandon: Kevin's flute seems freer, unfettereed, and Sean's fiddle is back to its boyish brashness. Even Trevor Hutchinson's bass is more prominent than usual, which I find very positive. There are some calmer moments, twin whistles on the air Raven's Rock and solo flute on Tune for Dad, but most of Lá Nua is lively enough. P-Celtic harmonies on Tro Breizh, Balkan twists on The Connacht Heifers, and a couple of Scottish reels ending with Allan MacDonald's Tatties and Herring: all serve to situate Lúnasa at the centre of European acoustic music. Even so, it only takes a touch of Cillian's pipes to remind us that their roots are firmly anchored in Irish peat. Pure instrumental genius, of course: another marvellous CD from a quintet who must now be beyond supergroup status. They even have their own record label!
www.lunasa.ie
Alex Monaghan
Label:
Kleztone Records; 002; 11 tracks; 56 min; 2010
The other half of Bessarabian Breakdown is a mixture of light jazz, Latin and North African influences (hence the title).Jim Guttmann is a bass player, a member of the upright society, and his playing shows through on sparser tracks such as And the Angels Sing or the title tune. The final track is an impressive bass solo, requiring good hi-fi to appreciate. There's plenty to enjoy throughout this album if you have any leaning towards jazz. I could get picky about intrusive electric guitar, or long sections of drum and bass, but hey, it's good-time music, what's not to like? Plus there are no vocals on this recording, unusual for Klezmer. There are also some outstanding pieces I haven't heard before. My personal favourite, and my children's, is the wonderfully open version of Cuando El Rey Nimrod with its Moorish percussion and strings. Plenty of good stuff!
www.jimguttmann.com
Alex Monaghan
Label:
Own Label; BRE001CD; 11 tracks, 52 min; 2010
All the instrumental tracks hit the spot, with Donal Brown jining Calum to provide double pipes versions of Captain Campbell and Good Drying amongst other highlights. Calum takes The Waterhorse's Lament as a solo, an unusual choice. The Scott Drive set features Calum and Donal playing their own impressive compositions on whistle and flute. One minor niggle carries over from Breabach's first album: the flute of Donal Brown is still a midge's whisker off the pace at times, and unfortunately his talent for slow airs goes largely unexploited here. That said, the combination of the woodwind with Patsy's fiddle is still outstanding, and Ewan does sterling work on guitar behind the tunes.
A more serious problem for me is the decision to give Patsy Reid two songs: Patsy is a fantastic fiddler, but her voice struggles with the range of The Morning Lies Heavy and is no match for Rescue Me at all. There's no need for two singers and four songs on this recording. Ewan makes a reasonable job of his namesake's song Shoals of Herring, but Greenfields is the only strong vocal track here. Breabach definitely miss a trick on the instrumental breaks in all these songs - only one out of the four really takes off, and I can't help feeling that Mr Brown's flute should have exploited these opportunities, or even replaced them with a flute slow air. However, I'm inclined to forgive a lot when the double pipes and fiddle cut loose on Allan MacDonald's reel The Plagiarist for a final dose of full-on Scottish music. This CD is well worth hearing for the instrumentals alone, and I hope Breabach play to their strengths in future.
www.breabach.com
Alex Monaghan
Label:
Smithsonian Folkways; SFWCD 40545; 15 tracks; 53 min; 2008
Paddy on the Turnpike, The Mullingar Races, The Boys of the Hilltop, The Steampacket: Tony DeMarco's music is the music of Coleman, Morrison, McGreevy, Reynolds, McGann, Wynne, and many other great Sligo fiddlers. It was also shaped by Paddy and Johnny Cronin, emigrant Kerry fiddlers, as well as by American old-time music. Minnie Dempsey's Polka, written by Tony for his maternal grandmother, captures the Munster style, and the title track of this recording is straight out of the Appalachian backwoods, but the core of Tony's repertoire is the Sligo classics, played in the classic Sligo style. Not that Tony doesn't bring anything new to the music: as well as his own compositions, he has unusual versions of The Monaghan Jig, The Old Dudeen and others, some inspired by Coleman's recordings. There are three lovely slow airs on this recording too, two well-known traditional pieces - one with striking accompaniment on uilleann pipes - and Andy McGann's gorgeous tune Rosemary which ends the CD. As if this wasn't enough, there's even a song from Seamie O'Dowd to showcase Tony's back-up fiddling.
Tony is joined here by pipers, fluters, other fiddlers, and a range of accompanists. Peter Horan, Seamus Tansey, Kevin Burke and Jerry O'Sullivan all appear on duet tracks. Charlie Lennon provides piano accompaniment in several places, and the increasingly popular Natalie Haas backs Tony on cello for two slow airs. This is an indication of the high regard in which Tony DeMarco is held by Irish musicians worldwide. Tony also plays the baritone fiddle - a viola, I assume - to add harmonies on a few tracks. The Sligo Indians is full of variety, an entertaining and eye-opening recording of one of Irish music's vital living links between past generations New York Sligo fiddlers and the players of today. Now Tony DeMarco's music will be heard more widely, and that's surely a great thing.
tonydemarcomusic.net
Alex Monaghan
Label:
Own Label; JCB01; 16 tracks; 51 min; 2010
The sleeve notes read like a who's who of Irish music. Give us Another is credited to John McFadden, My Former Wife to piper Bernard Delaney, and many tunes were learnt from the almost holy trinity of Coleman, Morrison and Killoran who recorded in America in the early twentieth century. Whilst this collection concentrates on reels and jigs, there is a set of sweetly turned hornpipes including the title tune, and two track of flings: The Old Stack of Wheat, Johnny Will You Marry Me, and The Four Courts which comes from Frank Quinn's eccentric version. As Tommy Keane puts it, "the myriad of sources quoted by them for the music they have presented on this recording indicates a common and original journey of searching, listening and learning" - in other words, Colm and Jesse have certainly done their homework!
Speed the Plough, The Connemara Stockings, Drimroe Cross, The Boy on the Hilltop, Dunboyne Straw Plaiters, The Killavil Reel: old recordings are reawakened on this CD, some from long deep slumbers. The only two recent compositions here are Burnt Cabbage and Richard Dwyer's Jig, both with an old-fashioned dark side to their minor melodies. Apart from one or two solos, box and fiddle duet throughout and at times their tightness and empathy is outstanding. The melody constantly demands your attention, and its raw intensity can be quite overpowering, John Blake's accompaniment always keeps a respectful distance and concentrates on enhancing the tunes, perfectly fulfilling its side of the Irish musical bargain. On this evidence, old style Irish music is alive and well on both shores of the Atlantic, at least in the hands of Gannon and Smith.
www.smithandgannon.com
Alex Monaghan
Label:
Shoeshine Records; SPIT038; 13 tracks; 50 min; 2009
The bulk of this recording is solo Gaelic song, eight tracks of Julie's gorgeous voice with a range of accompaniments. Bothan Àirigh am Bràigh Raithneach is expressively delivered over a rich piano, oboe and string arrangement. At the other end of the spectrum, Julie sings Hò Bha Mí unaccompanied with three-part vocal harmonies on the chorus, as pure and beautiful as the snow on Ben Mor. Her Uist inheritance is often tempered with a more cosmopolitan smoothness and attack, not unlike the Mackenzie sisters or perhaps Mary Jane Lamond. In two duets with Lewis singer Mary Smith, Julie's lighter voice cuts through like a laser. Hé Gràdh, Hó Gràdh in particular is a powerful combination of these two wonderful singers, again hauntingly arranged. There's also a version of The Wind and Rain, translated into Gaelic and sung with Eddi Reader, more an indication of the musical stature of this young Hebridean singer. Julie Fowlis has plenty of reasons to hold her head high on Uam.
www.juliefowlis.com
Alex Monaghan
Label:
Own Label; SDE004; 10 tracks; 51 min; 2010
Slide have taken the wise step of recruiting Dave Curley to sing the three songs on this recording. Dave's strong pleasant voice makes a good job of Paul Brady's Follow On, the traditional Maid of Culmore, and Daire's See Thru Blue with intriguing lyrics and a fine melody. Dave's guitar complements Mick Broderick's bouzouki, which is a key part of the Slide sound in songs and tunes alike, whether delicately backing Gordon Gunn's sublime Gillian's Waltz or pumping energy into Paddy Taylor's Reel. The reels on this CD are plentiful and varied, with a seven-minute medley of solos and ensemble playing culminating in a fabulous rendition of Fred Finn's. Other highlights include Ol' Man Lynch, an old-timey selection, and a sparkling flute foray on The Highland Man from Eamonn De Barra. Eamonn's galvanising performances are too often in the background here, but that's pretty much my only criticism of Beo. This is an exceptionally fine live album from a great wee band, and I'd recommend it to anyone.
www.slide.ie
Alex Monaghan
Label:
Pyrene; PYR003KD; 11 tracks; 50 min; 2009
Xarnege have three strong singers, two male and one female. There's a troubador-style love song, a humorous ditty about the priest's donkey which gives birth to twins, another comic song about an overloaded donkey. Three more serious songs follow: an angry denouncement of the treatment of peasants by the nobility, the lament of a young mother abandoned with her five children, and lastly a short blessing. All are expressively sung and powerfully arranged, with simple but striking melodies. On the instrumental side, Xarnege uses three very different sounds. The hurdy-gurdy, common in France and Northern Spain, combines sweetness with a rough rustic edge: it's played brilliantly here. The high-pitched Basque whistle, played one-handed in combination with a large coffin-shaped zither held at shoulder height, provides a piercing and rhythmic sound: find Xarnege on YouTube, and you'll see what I mean. The final weapon in this band's arsenal is the Basque bagpipe, very similar to Southern French pipes, which harmonises beautifully with the hurdy-gurdy, particularly as at least two of the five members of Xarnege are pipers. A related sound comes from the Alboka, a type of clarinet made from animal horns.
The opening Belats Xarmanta is one of several darkly threatening pieces on Ixo-Sho. It has the raw savagery found in some French and Scandinavian music. Los Banakos deu Passaire starts more gently, but comes back to this dark vein in the second half: this is one of my favourite tracks, a combination of hurdy-gurdy, whistles and pipes. Marin Congo is a complete contrast, a song air played on twin whistles and zithers, with one of Xarnege's electronic extravanagzas to finish. Adarbakan is a fairly standard French-style waltz, a nice hurdy-gurdy showpiece. There are more electroic effects as we near the end of this recording, adding atmosphere to Trabuko and Passaia. The final track is suitably climactic, building from whistles and violin over a bass drone, adding electric keys and hurdy-gurdy, then pipes and percussion for a rousing finish. Full of surprises, familiar yet aien, Xarnege's music is certainly a new experience for me and I feel enriched by it: I hope you'l feel the same.
www.xarnege.com
Alex Monaghan
Label:
Own label; FID002CD; 13 tracks; 45 min; 2009
There's variety in the tunes here too. Plenty of Donegal reels, of course, but also the germans, highlands and airs adopted from other traditions by Donegal fiddlers. Hector the Hero, written by Scott Skinner to mark the death of Ross-shire soldier Hector MacDonald, was popularised by Tommy Peoples and The Bothy Band among others. Skinner's composition Le Messe is less often heard, and the triple violin version here is a rare treat. A set of four highlands includes some popular Scottish tunes, back to front of course, and the fine Bluestack Highland. There are hornpipes and marches too, jigs and waltzes, and even a new take on the descriptive Fox Hunt. In this version it's a hare they're after, and the three fiddles run her down in fine style, but she takes longer to die than many a Hollywood heroine! Be that as it may, the quality on this recording lasts right to the end with a great set of reels culminating in Dinkie's followed by the stately pairing of McConnell's Barndance and Francie Mooney's German. Grand old music well played: www.fidilmusic.com may tell you more, but this CD should be widely distributed.
www.fidilmusic.com
Alex Monaghan
Label:
Compass Records;
7 4531 2; 11 tracks; 65 min; 2010
See also the German review in this issue |
Label:
GO Folk;
GO0810; 11 tracks; 42 min; 2010
See also the German review in this issue |
See also the German review in this issue |
Label:
Compass Records;
7 4530 2; 12 tracks; 45 min; 2010
See also the German review in this issue |
Label:
Roues et Archets; RA012; 2008; 12 tracks; 57 min
Pinson et Cendrouille is another highlight. Also known as The Birds' Wedding, its lyrics are pure fantasy but the tune is catchy and Pascal Gemme's fiddle weaves all kinds of magic in the background. But my absolute favourite track here is the beautiful Valse Beaulieu, exquisitely played on flute by Alex de Grosbois-Garand. Apparently this sublime melody was inspired by the town of Beauly, near Inverness. It should be a source of pride for all Invernesians. Almost all the instrumentals on the CD, including Valse Beaulieu, were composed by Pascal Gemme, so he can also be justly proud, as can his two companions: La Bibournoise is a first class recording, and a very welcome second release from Genticorum. You can find out more about them at www.genticorum.com.
www.genticorum.com
Alex Monaghan
Label:
Gofolk;
GO 0410; 2010; 12 tracks; 48 min
Pørtners Komplot's own compositions are equally pleasing. Anne Lines Polska is one of Johan's, a moody Scandinavian melody, full of dark magic. Felicia D'Amore is a truly beautiful waltz by the group's bassist and pianist Nicolaj Wamberg. Frey's tune Mod Verdens End returns to the dark vein of Scandinavian winter, a very powerful rhythmic piece. I have to say that Pørtners Komplot have shown me some hidden depths to Danish music which I hadn't previously appreciated. Oldefar på Tour is very pleasant, but also innovative and menacing at times. The standard of musicianship is as high as you might expect from such a musical country, both in the traditional idiom and in the more jazzy numbers. Give this CD a listen - I don't think you'll be disappointed.
www.pkomplot.dk
Alex Monaghan
Label:
Borealis;
BCD199; 2009; 13 tracks; 49 min
War, seduction, murder, deception and disaster: all the usual fun of the folk song is here. Octobre 1837 celebrates an uprising against oppression, while La Mine laments the precarious existence of ordinary workers. Elise recounts a young man's attempt to deceive his intended, and Rossignolet presents a wife poisoning her husband. There are a couple of more light-hearted numbers too. Montcalm employs the brass section in a very creditable approximation of La Bottine Souriante at their best. The final song, Ecris-moi, is surprisingly gentle: more a lullaby than a love song.
Reels are the order of the day on the instrumental tracks, all composed by fiddler Olivier Demers, who also wrote the contemplative Petit Reve 5. This is contemporary tradition in fine style, muscular and energetic, with attractive melodies and strong harmonies. I'd like to hear more instrumental sets from Le Vent Du Nord, but you can't have everything and the vocal pieces are probably their greatest strength. The title La Part du Feu refers to all the things you would leave behind if you had to travel light, what you would abandon to the fire: this album would definitely be some way down the list!
www.leventdunord.com
Alex Monaghan
Label:
Zouma Records; ZRCD061; 2010; 11 tracks; 38 min
See also the German review in this issue |
Label:
Own Label; CCCD10; 2010; 12 tracks; 47 min
I wrote of Chrissy's 2007 debut that her jigs were not as strong as her reels, and I think that's still true here. There is only one set of jigs on this recording, and whilst it's nothing to be ashamed of, the reels are better. There are a lot of them, too: almost two dozen, and they're all pretty good. Chrissy plays with a low-down dirty tone that suits the more grungy reels, tunes which hover around low E particularly. Her own tunes The Doppleganger and Hayezed & Confused (returning the compliment to Ian Hayes) are good examples. As well as Mr Hayes, who plays mean fiddle and banjo in addition to his guitars, Chrissy is joined by pianist Jason Roach to give this album the classic Cape Breton sound: fiddle, piano and guitar. The arrangements here stretch from the traditional to the theatrical, with some elaborate intros and cadenzas. Sometimes it doesn't work, as Sandy Brechin famously said, but generally Chrissy and friends carry it off in style. I'm not sure what Chrissy Crowley will do next, but it will probably be interesting! The Departure is definitely worth checking out: listen to samples online where mail order should be available.
www.chrissycrowley.com
Alex Monaghan
Label:
Greentrax;
CDTRAX343; 2010; 11 tracks; 47 min
See also the German review in this issue |
Label:
Greentrax;
CDTRAX348; 2010; 12 tracks; 57 min
See also the German review in this issue |
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