Svøbsk "Sorgenfri"
Go Danish Folk Music, 2023
This esteemed accordion/fiddle duo celebrates this year already their 20th anniversary. The two Danes, Maren Hallberg Larsen and Jørgen Dickmeiss, create a beautiful soundscape, with incredibly tight and harmonic interplay honed over the past 20 years. As so many of the leading Danish folk musicians, they originally met at the Danish conservatory in Odense, and are today not only musically but also privately a couple. As they describe themselves, their music is “a balancing act between tradition and renewal” - all tunes in the album are composed by one of the two musicians. The music bridges traditional dance melodies and new ideas and improvisation, with Danish music at the heart. On this anniversary album, the musicians decided to scale their album back to just the two instruments. “Sorgenfri” means free of worries, and this is certainly a way to describe these beautiful tunes.
Beth Malcolm "Kissed and cried"
Young Scottish singer/songwriter Beth Malcolm is one of the great folk music discoveries of recent years., Beth takes a new and distinctive approach to Scottish music in her songs, blending Scottish traditions and songwriting with a strong dose of Jazz and light-heartedness. The lyrics often have a twinkle in the eye - be it when Beth reflects on the Folk police not liking new interpretations of folk or imagines convincing an accountant in London to change careers to become the next Davy Steele in Scotland. Alongside her brilliant own songs, the album also features a few new interpretations of traditional Scottish songs. And there’s a superb swinging version of folk-jazzy “Achiltibuie”, the wonderful fun song by Beth‘s dad, singer/songwriter Jim Malcolm - clearly the name of the village of Achiltibuie had just waited to be used in a song. The sleeve notes of the album are sparse (although the artwork itself is well worth to get your physical copy), but do reveal the guest musicians who skilfully bring the songs even more to life - and include for example accordionist Andrew Waite and Ali Levack on whistles. This is an inspiring album of an ever so talented young singer/songwriter - a strong contender for the top 10 2023.
Bragr "Live at Gnisten"
Bragr are a talented quartet of three Danes plus Swedish nyckelharpa player Perry Stenbäck. My review of their last album (also recorded live) concluded that it was “a gem of an album”. That’s quite a high bar to live up to for a follow-on album; and the new album cannot, in my opinion, quite live up to this expectation. The new album is more traditional Scandinavian than the previous one (despite the lineup of percussion, fretless bass and piano plus nyckelharpa/guitar), and does not have the same level of jazzy improvised feel or the same focus on nyckelharpa and grand piano. Having said that, it is still a strong album with interesting musical ideas. A couple of tracks alone are worth the purchase of this album - the beautiful piano composition „Laengsel“, and the song „Jeg kalder“. The latter has an incredibly sad tragedy behind it - the loss of Perry and Christine‘s youngest son in a traffic accident; the song has a haunting melancholic beauty, and makes such a touching tribute.
Huldrelokkk "Flickor alle"
Beautiful Scandinavian songs and music from five gifted female singers and instrumentalists. Huldrelokkk really is a trio formed by German-Norwegian singer Kerstin Blodig – although to be exact, on this album it is two trios around her: The first half of the album was recorded with Mia Gunberg and Liv Vester Larsen just before Corona stroked - and after Corona neither Liv nor Mia were available. So Kerstin went to find two different musicians from Sweden to record a second half to the album; Ditte Anderson and Elon Johnson – who also added overdubs to a couple of the previously recorded tracks of the “other” trio. Hence there is even more variety of beautiful music on this album. Gudrun Walther & Andy Cutting "Conversations"
English accordionist Andy Cutting won’t need any introduction to our readers. And German fiddler/singer Gudrun Walther is also not unknown on the international folk scene - as founder member of the Celtic band Cara and half of the German duo Deitsch. Already in 1995, following a shared session, did these two outstanding musicians contemplate a duo project - but it took them until now to finally pull it off. And boy, it was worth the wait for this stunning album!
Nicolas Bouleric et Olivier Demers avec Robert Deveaux "Art Populaire"
Nicholas and Olivier are, of course, internationally known as two core members of Quebec‘s sensational Le Vent Du Nord. For this album of their duo venture they have expanded to a trio, joined by Cape Breton fiddler Robert Deveaux. This is an album of traditional songs from Quebec and Acadia, full of vivid vocal harmonies. Compared to Le Vent Du Nord, the music is more gentle and gives the musicians the opportunity to fully focus on the beauty of each song, without the pressure to impress with tricks or speed. While the theme might be songs, as you would expect, the musical arrangements, of two fiddles and the hurdy gurdy, is first class too.
Vesselil "Til Kirsten"
I simply love this album. These three young ladies create such a beautiful, rich and elegant sound in their string trio format, reimagining and reinvigorating traditional Danish music. Vesselil features violin, violin/viola and cello, and it’s the cello that adds its rich and earthy sound which we hear all too seldomly in folk music. Four superb interpretations of traditional Danish songs, with inventive arrangements, are combined with mostly original tunes based on folk traditions. While folk is the core of the music, by nature of the instruments the music has at times a classical feel, as well as the swinging improvisation usually found in Jazz. There is something in the music of this trio - their choice of material, the creative harmonies, the way cello and violins communicate, the charming voices - which directly touches the soul. Vesselil "Til Kirsten"
A second album from this Danish trio is a treat both vocally and instrumentally. The group takes its name from a determined woman in an old Danish song, and Til Kirsten continues the theme with a number of pieces inspired by the legendary 12th century female figure Liden Kirsten from northern Jutland. Fiddlers Clara Tesch and Elisabeth Dichmann and cellist Maja Aarøe Freese play and sing a mixture of traditional material and their own compositions here in a powerful and pleasing selection.
Morten Alfred & Vingården "Druer/Grapes" [EP]
Morten Alfred Høirup is something of a legend in Danish folk music - by which I mean he is old, he appears in many different guises, and nobody is sure what is fact and what is fantasy! Druer, or Grapes in English, presents a small bunch of Morten Alfred's compositions, interpreted by him on guitar and harmonica, with support from a suitably refreshed vineyard duo of Kristian Bugge on fiddle and Charlotte Andersson on saxophones. There is one song, a catchy old Roma melody that Morten Alfred's family band used to play, to which he has added lyrics about the joys of being a travelling musician. The other tracks are instrumentals.
Peatbog Faeries "I See A World"
By my reckoning this is the eighth studio album from the Peatbogs, and it's immediately true to their hallmark style established on Mellowosity back in 1996. The Jesster opens proceedings with a funked-up reel on pipes and synths, classic. Things begin to change with the addition of wailing vocals, and indeed the human voice is a noticeable part of I See A World as our heroes add a group of superheroines on vocals and sax for half the tracks here. Personally I hope this is a temporary phenomenon, as it would be a shame to lose another instrumental group, but I appreciate that I am unusual in preferring tunes to songs - and perhaps even in knowing that there's a difference.
Vinta "Beacons"
A Scandinavian string ensemble, an American oldtime band, a traditional French dance group, a central European cafe orchestra, or a Quebec house party - Vinta can be all these things, and more. Combining fiddles, accordions, clarinets and double bass, Beacons presents fifteen new folk tunes by band members Emilyn Stam, John David Williams, Nathan Smith and Robert Alan Mackie, plus Séduction, a 1920s waltz by southern French violinist Mario Cazes which was just too tempting to resist! Based in Ontario but drawing on influences from across Europe and North America, Vinta perform beautifully here and their distinctive arrangements are very pleasing to the ear.
Frigg "Perintö - Heritage"
Having celebrated twenty years as Finland's premier instrumental folk band in 2022, their 21st year and 11th album sees Frigg focusing on Finnish music from across the country. In their unique Nordgrass style which blends Celtic and Bluegrass influences with the old music of their native tradition, Esko Järvelä and his sister Alina are joined by Tommi Asplund and the phenomenal Tero Hyväluoma to make four fiddlers, with Petri Prauda on cittern/mandolin, Topi Korhonen on guitar, and Juho Kivivuori on double bass. Alina also doubles on harmonium. The group sound is lush, complex, perfectly orchestrated and performed to perfection.
Emilia Lajunen "Vainaan Perua: Satavuotinen Sakka"
This is one of those albums which defies categorisation. It's Finnish fiddle music mainly, from Emilia Lajunen ably supported by Eero Grundström on harmonica and percussion with a touch of synthesiser. Both musicians sing, and vocalise, and harmonise in a true folk style which might not win prizes at Eurovision but certainly raises the hairs on the back of my neck. The progression of new and traditional material is almost seamless, evoking every emotion, setting the feet tapping and the heart pounding, or the spirit soaring. Each piece is personal, carefully researched or crafted, and nicely described in the notes in both Finnish and English.
Rachel Hair & Ron Jappy "Élan"
A second double handful of pieces from this harp and guitar duo, Élan combines traditional Scots, Irish, Manx and even English tunes with Rachel's own compositions. The flavours range from salty Shetland airs to warm Breton melodies, wild Kerry polkas to Scottish piping medleys. The harp leads, backed by its own left hand harmonies and chords, with strong support from the guitar. Every track is a winner, although I felt the energy dropped surprisingly for the Cape Breton jig set, and if you are an English musician you may find it very disturbing that the polka Harper's Frolic is not followed by the English Bonny Kate - a striking break with tradition!
Alison Brown "On Banjo"
Bluegrazz doesn't get a lot of hits on Google, but this combination of jazz and oldtime is certainly popular. Banjo Bop, Grappalachian: whatever you call it, Alison Brown's music hits the sweetspot between high-brow jazz and low-down country banjo. There's a wide range of styles here, from Brazilian choro to Beatles-tinged pop, almost straight bluegrass to something like a Strauss waltz on Sweet Sixteenths. Brown has a hand in the composing of every track, occasionally with a collaborator: all except the pair of pieces on Sun and Water which are down to George Harrison and the less well-known but equally deserving Antonio Carlos Jobim. The combination of flute and banjo is a rare one, but oddly fitting for Here Comes the Sun, and this pairing works well on three on four tracks here, lending a light and airy feel to the fretted percussiveness of the banjo. Elsewhere Brown's choice of instrumentation is more conventional, at least in country and bluegrass circles.
Dàimh "Sula"
The gently flexing line-ups and instrumentation of Dàimh over the years have reflected the shifting sands on both sides of the Minch, but seem to have settled now on singer Ellen MacDonald backed by fiddlers Alasdair White and Gabe McVarish, piper Angus Mackenzie, accordionist Murdo Cameron and guitarist Ross Martin. This distinctively Hebridean combination suits the Gaelic songs and tunes which make up most of Sula and also allows for a bit of contemporary ceilidh with a touch of banjo and a bunch of world-class guests: Martin O'Neill, James Lindsay, Megan and Ewen Henderson on backing vocals, and a generous dram of Calum Alex MacMillan for extra Gaelic firepower.
Iain Fraser "Kōterana"
A fascinating album in so many ways: Kōterana combines beautiful artwork, dramatic and gorgeous music, and an amazing backstory. Fiddler and composer Iain Fraser has written an extended suite of pieces, many of them catchy or danceable enough to become part of the Scottish tradition, all inspired by a 19th century odyssey between Scotland and New Zealand. I'd describe this as an album of Scottish music, but it touches on classical, Maori, and even contemporary cinematic genres. Comparisons with The Brendan Voyage and with Ossian's Dove Across the Water album spring to mind, and Kōterana can hold its head up next to both.
Lena Jonsson Trio "Elements"
A third offering from this trio is hugely welcome. Fronted by one of Scandinavia's finest fiddlers, with a justified claim to world renown, the Lena Jonsson Trio adds Kristofer "Krydda" Sundström on bass and Erik Ronström on guitar for sensitive and compelling arrangements of contemporary folk music. All the material on Elements was recently composed by Jonsson, but its roots go deep into her family repertoire, and deeper still into the music which was exported from Sweden to the backwoods of the USA in the mid 19th century. Scandinavia and America influence this album almost equally, putting it squarely between the styles of Nordic Fiddlers Bloc or Optur on one side, and Hawktail or The Fretless on the other.
Westward The Light "Flow Country"
A second selection from these Scottish ceilidh celebs is a treat indeed. Combining styles from east and west, their fiddle-based arrangements cover Perthshire classics from the 1700s, Irish favourites which may be even older, Gaelic reels and jigs, and several of the band's own fine compositions. Experts in both dance tunes and music for listening, Westward the Light delivers a wide variety of material here, with Sally Simpson and Charlie Grey on fiddles, Owen Sinclair on guitar and Joseph Peach on keyboards. Flow Country is flawlessly played and produced, short on background information but long on quality.
Natalie Padilla "Montana Wildflower"
Natalie Padilla, Casey Campbell, Tyler Andal "Hell Broke Loose"
There's a bit of everything on this slightly short but very varied album of fiddle music. Natalie Padilla turns her practiced hands to Irish, Scottish, oldtime, plenty of original tunes and a few traditional treasures. She also moonlights as a classical and bluegrass player, so there's no shortage of technical prowess although those hands stay mainly in first position here. Speaking of hands, Natalie's accompanist Quinn Bachand is almost as crucial to this recording: his mastery of guitar, banjo, bouzouki and more means the duo have so many options, and he even picks up a fiddle for Prairie Flax while Natalie switches to clawhammer banjo.
Smith's Reel is a nice showpiece for both fiddle and mandolin, while Midwinter Waltz is the second fine composition from Natalie. Billy in the Lowground, Soldier's Joy with some serious banjo picking from Tyler, and Hunting the Buffalo surround the third original here, a very attractive reel by the name of Horse & Buggy. Campbell swings Peek-a-Boo Waltz in style, and chips in with backing vocals behind Padilla's sweet lead on Say Darling Say. The final romp around Katy Hill comes over flash and fiery, pushing into Bill Monroe country to round off an hour of great fiddle music old and new.
Palm Bay Frost
Three fortunate surnames - if they'd been called Small, Green and Salad the story might have been very different. Sabrina Palm, Simon Bay and Hartmut Frost are accomplished musicians from the Cologne area of northern Germany, presenting their debut album here. A dozen original compositions in the style of Celtic folk and Americana are leavened with just a couple of traditional Irish tunes and three songs by singer-guitarist Frost. I'd say one of the songs hits the spot, the other two falling foul of sentimentality or second-language lyrics: Still Learning has an attractive message and compelling melody, delivered with style and conviction. The seven instrumental sets are consistently fine, from the opening Zydeco happy place of Heads Up, Lights Down which instantly makes it clear that this is not a bingo evening. A Fish is a Fish continues the Rhineland straight tallking with an English-flavoured hornpipe, and then there's a delightful French-style waltz which adds Mike McGoldrick's guest whistle to the accordion and fiddle of Bay and Palm. Journey to the Stars takes us back across the pond for oldtime and contemporary fiddle tunes with a fancy guitar break before a slightly Germanic take on Riverdance jigs. Eamonn Murray's banjo beats The Fermoy Lasses into shape as a prelude to two tasty contemporary reels, bringing us to what for me is the finale: an American-style air in slow waltz time, intriguingly named The Three Olives. There is a book of all these tunes and songs available: maybe it explains whether this title refers to people, or three stones in a fountain, or simply an overdressed Martini. Whatever the reason, Palm Bay Frost have produced a very enjoyable CD which should prove popular in Germany and will probably travel well too.
Neil Pearlman "Refractions"
Brought up on Scottish and Irish music in the New England contra dance scene, trained in classical and jazz styles, pianist Neil Pearlman does an excellent job of combining these influences on his first solo album. His recordings with partner Katie McNally and Shetland fiddler Kevin Henderson, amongst others, have shown him to be a sensitive and inventive accompanist. Refractions adds that star quality as a soloist. This is a true solo album, unadorned piano, and it spans a wide range of styles from the opening Gaelic air Is Àlainn an t-Àite to the galloping jig Rock and the Wee Pickle Tow, equally opaque titles to some but familiar tunes in the Scottish tradition. Tha mi fo Chùram gets one of the jazzier treatments here, rhythmic excursions and discords among a huge range of variation before a delicate reprise of the song melody. The sombre Oran a' Chaiora and Cumha Iain Garbh are treated with respect and understanding while adding cool jazz improvisation.
Lily Neil & Vesa Norilo "Tales and Golden Histories"
Harp and cello, two instruments which have enjoyed a renaissance in folk music in the last fifty years or so: here they swap melody and accompaniment, rhythm and ornamentation, on a range of traditional pieces from Ireland, France, Sweden, Finland and Canada. Lily and Vesa each contribute one composition, but the bulk of Tales and Golden Histories is older material, and every track is a duet with no guests needed. I don't have an explanation for the title, and there is no Finnish Tango music here, but otherwise I have only positive things to say about this album.
Hanneke Cassel "Infinite Brightness"
Boston's premiere Scottish-style fiddler, Hanneke Cassel has been a rising star for so long that she is probably well out of sight and approaching another galaxy by now. Her considerable brightness has composed most of the material here, and she is assisted by several of the great and good from the Boston music scene: Jenna Moynihan, Yann Falquet, Tristan Clarridge and Keith Murphy on various strings and keys. Hanneke herself plays fiddle and piano. The album title refers to Christian symbolism of an afterlife, and there is a strand of mortality, of loss, and of religious solace through this album which is dedicated to the many people no longer with us since March 2020 and the much larger number coming to terms with the effect and the ongoing reality of the COVID pandemic. It's not all sad - far from it - but there's a mindfulness and care in much of the music here which might not have been there if the world hadn't changed.
Own label, 2023
Go Danish Folk Music, 2023
Westpark Music, 2023
All five women have wonderful voices, with many songs featuring brilliant harmony arrangements. The majority of the material are Swedish traditional songs, complemented by a few tunes and a couple of Norwegian songs. The vocal harmonies are, if not a Capella, charmingly accompanied by nyckelharpa, violin and guitar. Hauntingly beautiful.
Artes, 2023
This is mesmerising music: the musical conversation (an appropriate album title) between accordion and violin is harmonic, varied and exciting, and – no exaggeration - played to perfection. Echos of Andy’s celebrated English trio Leveret can be heard, although the two musician have found their own joyful style. And this album is also enriched by three wonderful songs sung by the rich voice of Gudrun - two traditional German songs and one English song. In my humble opinion, this is a “must-have” album – one of the best ones heard this year.
La Campagnie du Nord, 2023
Go Danish Folk Music,2023
Three incredibly talented musicians with an album which is certain to remain a favourite of mine. Most highly recommended.
Go Danish Folk Music,2023
The opening song sets the scene with strong vocals and a rhythmic arrangement on cello and fiddles. The eerie traditional Menuet fra Ærø hints at the darker side of Liden Kirsten's saga, until Dichmann's Din Schottish lifts the mood. The song Kirsten som Stalddreng tells the familiar tale of a woman disguised as a boy, with a twist, while I Vestervig is a more melancholy tale from Liden Kirsten's life: both are sweetly sung by Maja, and bracketed by a couple of catchy tunes from Clara. Midnat i Sønderho has that distinct West Danish character, a lovely piece veering towards classical style and back again. The final song is a mournful one, a lament perhaps, beautifully played on viola and fiddle with a low bowed cello line. Til Kirsten ends with another Dichmann composition, the gorgeous air Tweed's Light inspired by accordion luminary Karen Tweed - a surprisingly sweet note to finish this very fine album.
© Alex Monaghan
GO Danish Folk Music, 2023
The tunes are happy, uplifting, a mix of traditional Danish and wider dance forms. They start slow with Vejen Hjem, a weary but optimistic return home, and pick up with a couple of cheery polskas. Høstfesten harks back to Balkan themes with a relaxed party atmosphere, and Den Gamle rounds off this collection with a cosy fireside chat between saxophone and guest mandolin from Fin Alfred Larsen. An album which bears repeated listening, Druer works as foreground or background music. It's only available as a download or stream, there is no CD version, so try it out online and see what Morten Alfred has squeezed out of his Grapes.
The music of Morten Alfred & Vingården comes from a collection of tunes composed by Morten Alfred Høirup and published in his book, Ingela’s Waltz – 25 New Danish Folk Melodies, released in 2022. These melodies were composed by Høirup during the last 25 years.
© Alex Monaghan
Own label, 2023
Track 2 has a wee bit more vocal behind a melody loosely related to the classic Irish Gaelic song Óró sé do Bheatha Abhaile. The more chilled I Haven't Smoked for Days is followed by Darcy's, a Ben Nevis of a piece with a long walk in before the peak. These two Ross Cooper compositions contrast with Tom Salter's Sister of Moses, the only real "song" here, reminiscent of the Irish ballad Still I Love Him. Peter Morrison's rousing pipe jig Innes Drinks the Bru precedes an existential musing in Ann Robertson's Kitchen, and this album wraps up with three varied tracks of festive fun: a Galician stomp, a cool jazzy ceilidh number, and a final island-hopping medley from St Lucia to Skye via Dunoon (My Home Town) and Shetland. I See A World certainly gets about, and the Peatbogs' journey is hugely entertaining.
© Alex Monaghan
Own Label, 2022
Williams' swaggering High Park is perfect for evening dances, while Stam's Bourrée Isolée and the three-way collaboration Réveil des Coccinelles are energising tunes for a breakfast bal. Grinding viola and bass on La Neylière lend a medieval, almost Moorish character to this slow march, while the addition of accordion lends a backwoods lift to the country-style Rosedale Valley Waltz. Two memorable French Canadian reels written and led by Nathan Smith are perhaps the liveliest track here, and one of many highlights. From the elegant Nordic notes of Whippersnapper to the cool contemporary Canadian air The House the Spirit Builds, this is a mighty impressive album and a great collection of new music.
© Alex Monaghan
CPL-Music, 2023
Detailed notes on the tunes here give excellent background information in English, and there's also a lovely traditional blue and red motif to the album cover which underlines the connections between Finnish and Swedish traditions. While the music on Perintö is typically Finnish, it is close to the Swedish style in many cases. The opening waltz, for instance, belongs to a multi-rhythm dance not unlike what we know as Swedish Masquerade. The wedding tune Lyckönskan comes from a Swedish-speaking area of Finland and is similar to the bridal marches of Norway or Shetland. Two lovely hambos, numbers 1488 and 1492 in Finland's archive of Swedish fiddle music, were played for this adopted dance but have a distinctive Finnish feel.
Other tracks are quintessentially Finnish. The appropriately named Reippaasti Vetelistä is a medley of tunes from Veteli fiddlers, neighbours of Frigg's Kaustinen heartland, and from the other side of the country we have a couple of East Finland polskas. Mazurkas and schottisches with a Finnish flavour are joined by a pair of delightful waltzes, one simply known as A-Major Waltz with a tasty opening on cittern, and the charming Valssi Ilomantsista originally played on kantele in the very eastern reaches of Finland. We mustn't forget the wonderfully named Mäläskän Death Polska, another opportunity for the cittern to shine. So much good music, so many great fiddlers, and such a fine band: Frigg are always a delight, and Perintö is a fine addition to their impressive recording catalogue.
© Alex Monaghan
Nordic Notes, 2023
If this music reminds me of anything, it's a combination of early Värttinä and the amazing sounds of Pauanne. There are even similarities to Enkel in the choreographed chaos of some tracks, but Emilia Lajunen's style is distinctly different from all of these. Her skill and expressivity on fiddle and old Finnish nyckelharpa is extraordinary, there is no questioning the quality of either arrangements or performances here. Eero Grundström's contribution, particularly on harmonica, is equally skilled and effective: he sets up rhythms and resonances beneath the fiddle which are truly visceral.
Most tracks are long - well over five minutes - the exception being Lajunen's soulful composition Vilko's Song, a song without words. The only lyrics here are for Hoskari, a poem by Emilia's great great grandfather who was "a fiddler, a drunkard and a criminal" but also a fine writer. His words are set to music by Emilia, and sung as a duet by her and Eero. The rest of this CD is instrumental, dance music and descriptive pieces, filled with dynamic fiddle playing and arranged with rhythmic harmonica, various bangs and crashes, ambient rural sounds and some spine-tingling modern effects. I won't even attempt to explain the album title, but Vainaan Perua: Satavuotinen Sakka is going on the shortlist for my 2023 Top Ten.
© Alex Monaghan
Own label, 2023
Hair and Jappy more than make up for this with a punchy version of John MacDonald's Reel, a pair of lovely waltzes by Graham Mackenzie and Rachel herself, and a combination of the gorgeous Gaelic air Bhannarach Dhonn a' Chruidh with the powerful strathspey Na Maraichean and another Hair original: Ceò na Cailliche or "The Witch's Fog inspired by a tale of Celtic magic outwitting the excise men on the hunt for illicit whisky. This album is as well named as Hair and Jappy's previous recording Sparks, and it ends with a very sparky selection of Manx tunes new and old, three of the many pieces here which I'm sure will become favourites.
© Alex Monaghan
Compass Records, 2023
Virtuosity is the order of the day, as you might expect if you are familiar with Alison Brown's music. Cool jazz meets cooler banjo on Old Shatterhand, followed by a bit of Latin polyrhythm on Regalito. Señor Jobim gets a tribute tune in lounge lizard style before a Brown belter on banjo and fiddle called Tall Hog at the Trough. The final number is called Porches, but that's just a front: it combines classical lines with some perky picking on low-tuned banjo. The sleevenotes give great detail on every track, explaining some of the wordplay and musical humour here. Alison is supported by a long list of guest artists, with particular features for clarinetist Anat Cohen, mandolinst Sierra Hull, guitarist Sharon Isbin, fiddler Stuart Duncan, and fellow banjoist Steve Martin, as well as a special appearance by the Kronos Quartet. This album isn't just On Banjo - it's on point, on message, and on course to provide a great deal of enjoyment for Alison Brown's enthusiastic audience.
© Alex Monaghan
Goat Island Music, 2023
Four big sets of tunes include the excellent Miss MacGregor's Favourite and The Lassie That Beguiled Me (we've all been there), as well as several stotters from the band and a rattling good reel written by the late Fraser Shaw for Angus Mackenzie. The five songs recount mischief, ancestral pride, lost love, seamanship, and more lost love in a handful of tracks tastefully arranged and strongly sung with a wide range of mood and sentiment. The tenth number is a fine Hebridean waltz by Murdo Cameron, the penultimate track before Ellen wraps up in soulful vein with the lament Laoidh Fhearchair Eòghainn. This album certainly shows off Dàimh at their best, and brings Hebridean culture bang up to date without compromising its character or quality.
© Alex Monaghan
Own Label, 2023
The story goes that the Reverend Norman McLeod left Scotland for Nova Scotia in search of religious freedom, and after thirty years there he took 800 of his parishioners on a dangerous voyage from Canada via Australia to Waipu on New Zealand's northern peninsula, founding a Gaelic-speaking community which endured for almost a century. Why he did this, and how many others took similar drastic action with perhaps less fortunate results, we may never know. This incredible journey is charted on the album: from the bittersweet farewell to Achmelvich Beach, through Gaelic laments and misfortunes, to the dramatic journey From Capes Breton to Good Hope, and onwards to Adelaide and eventually New Zealand, finishing with Norman McLeod's Welcome to Waipu, a strong yet sorrowful slow strathspey.
Along the way we have traditional Scottish and Cape Breton reels, a 19th century Gaelic song delivered by Calum Alex Macmillan which portrays the hardships of emigration, the very modern Scottish reel Gazelle full of fun and funkiness, the contemporary Aotearoa composed by piper Jimmy Young who emigrated from Edinburgh to New Zealand around 1990, and a piece inspired by a Maori song. Kōterana ends with Willie Hunter's Kiwi Reel, a Shetland tribute to New Zealand and a rousing finale with a big band arrangement. As well as a host of excellent Scottish and Canadian musicians playing flutes, pipes, percussion, keyboards and strings, one particularly pleasing touch is the inclusion of Cape Breton fiddler Gillian Boucher who also emigrated to New Zealand around twenty years ago.
© Alex Monaghan
Nordic Notes, 2023
Lena opens with Regnig Dag, distinctly Scandinavian, but soon switches into a more modern rock music style for Schack. The compound rhythms of Allt Är Kärlek create a contemporary polska feel, while Night Train mimics the scream of metal on metal and the rhythm of the rails under a bluesy stateside melody. Singelschottis has more of that backwoods feel, and Happy Two Step takes it as far as the swamps of Louisiana with their spicy gumbo and Cajun dancing. Some pieces just slide by, gentle on the ear, while others demand attention: the hypnotic gamelan sounds of Mammas Mage, the almost classical soaring notes of Nordanvinden, and the nigh unbearable sweetness of the final Röda Valsen. A dozen or so guests are used sparingly here, but the Lena Jonsson Trio can take most of the credit for an exceptional album in Elements.
© Alex Monaghan
Braw Sailin' Records, 2023
A Peach tune opens proceedings, Rearrangement Reel named for every band's favourite experience, dark and hectic, leading into high-energy traditional reels from Scotland and Ireland. The second track is another Peach original, the title tune: a slow air swapped between piano and fiddle-viola duet, sparse but beautiful like the northern peat moors from which it takes its name. Strathspeys and reels aplenty include Charlie Grey's catchy Druim Garry and Sally Simpson's outstanding Good Days, interleaved with the ancient slipjig known politely as O'Farrell's Welcome to Limerick. Grey's air Castle Coeffin essentially reshapes the great Gaelic song Cànan nan G&arave;idheal, and is followed by a pair of cracking old jigs. The final song air Bothan Àirigh am Bràigh Raithneach is a haunting melody, not exactly sad but poignant in that Gaelic way which makes such memorable music.
© Alex Monaghan
Own Label, 2023
Own Label, 2023
Listening to Montana Wildflower it's easy to think that most of these tunes have been arund for generations: the slipjig on Lady Slipper could come from an Altan album, the delightfully crooked oldtime reel Bittercress could be a version of Sally Ann. The waltz Forget-Me-Not is in classic country style, reminding me of compositions by Frankie Rodgers, Andy Dejarlis, Reg Bouvette and others. Prairie Flax starts with one of many O'Keeffe slides, an old tune indeed, given a treatment somewhere between Sliabh Luachra and Cecil Sharp House. A simple banjo melody and a sweet Celtic air bring us to a traditional oldtime reel and the final hard-hitting Americana medley of two contemporary tunes, dark and earthy, underpinning the wildflowers and ending this album on solid rock. Natalie Padilla's fiddle music fits right in, and takes these traditions to new and interesting places.
Natalie Padilla, Casey Campbell, Tyler Andal:
A trio of thirtysomethings playing oldtime music on fiddle, mandolin, banjo and guitar - and they are good! All champions on the competition circuit, with roots in Montana and Tennessee, Padilla, Campbell and Andal deliver seventeen traditional tunes and three of Natalie's sympathetic compositions. Their arrangements are mostly a full band sound - Andal even adds bass - and the fiddle often leads, but these three draw on their bluegrass background to throw in a few solo breaks. The title tune is followed by Farewell to Princeton - probably written by an early graduate of the oldtime degree programme there - and the easy-going Wild Shoat tees up the first Padilla piece, the topical Charles the Fifth. I particularly like L&N Rag and an instrumental Jack of Diamonds backed up by very decent vocals on Cumberland Gap.
© Alex Monaghan
Own Label, 2023
© Alex Monaghan
TradCafe Records, 2023
I am not the biggest fan of fusion in traditional music, or of the piano as an instrument in any context - I'm a fussy old fuddy-duddy really, just ask my kids - but even I have to say that the arrangements and performances here are effective and extremely well executed. Neil concentrates on Scottish material drawn from both sides of the Atlantic Ocean, and several tracks are outstanding examples of piano in the wider Scottish tradition. Saoil an Till mi Chaoidh, a song from the island of Lewis, is powerful and evocative of an emigrant's emotions. Reel for Carl, by the late great Jerry Holland of Boston and Cape Breton, shows great dexterity and imagination. John MacDonald of Coll View, a 6/8 pipe march by Mary Ann Kennedy, captures the contemporary West Highland style and verges on Nova Scotia piano pyrotechnics. The final Is i mo Cheist an Gille Donn, which apparently does not mean There's a Brown Haired Laddie in my Freezer, wraps up Refractions on a surprisingly sweet and gentle note. Mr Pearlman has done himself and the tradition proud here. Piano aficionados will love this album, and I will secretly enjoy it too!
© Alex Monaghan
Own label, 2023
Combining contemporary folk and classical approaches, the opening two Irish reels are powerful and resonant on cello. Norilo's intonation and tone are not quite what we're used to hearing from a Celtic cellist - this is more studied, more Nordic perhaps, less varied and spontaneous than Haas or Huggan or Hanson for instance. The slower take on Brendan McGlinchey's Nettles in the Bed 1971 shows the cello in a more lyrical light. Harp and cello intertwine on each track, with Neill mimicking cello chops and Norilo simulating harp glissando at times so the soundscape is seamless and coherent. Three pairs of Finnish and Swedish dance tunes sparkle like the Helsinki snow where Lily and Vesa met, or like the gold of the enigmatic title: polskas, Finnish schottisches, and an acupuncture waltz, very therapeutic. Smooth cello notes alternate with the tinkling bells of Lily's Californian lever harp, plucked strings glide over a gutsy bowed rhythm, Norilo switches to pizzicato for the spooky Voukraemännän Sotiisi, four hands flying in unison.
The charming original pieces Where we Danced and Menuetti are divided by a trio of Irish slipjigs, each one a classic, played with feeling and cleverly varied tempo here. The Celtic material ends with three reels, The Stride by Winnie Horan which is unfamiliar to me, then a glorious rendition of Christmas Eve attributed to Tommy Coen, and finally the well-known Farewell to Ireland. The three remaining tracks maintain this high quality and entertainment with the wonderful French melody Les Poules Huppées by Gilles Chabenat, another pair of Finnish-Swedish dance tunes with hints of Jesus Christ Superstar, and the popular Ookpik Waltz to finish. Norilo and Neill top and tail each track with precision in a very polished performance of some outstanding music.
© Alex Monaghan
Own Label, 2023
Evacuation Day has an urgency in its reel rhythm: written on St Patrick's Day 2020, it looks forward to an unknown future with a mix of emotions, mirrored by the multiple fiddle and cello lines. Serendipity has a solemnity, a bittersweet depth like Baroque sacred music, and the jig Making Tracie Smile doesn't quite break free of that serious mood. A couple of reels from the wider tradition continue this sombre note with spiky percussive fiddle. The lyrical Lovely Liddy and jaunty Teagan's Trip lift the mood, very fine tunes indeed. The stately Katy Ryan's Wedding Day comes close to Scandinavian ritual marches, beautifully arranged and played as an ensemble piece, while Dmitri's Dream benefits from punchy cello and fiddle continuo behind a graceful melody. The next track is calm, contemplative, before a sprightly new strathspey injects energy and life. Infinite Brightness returns to meditative mode for the haunting Last Alleluia, again with echoes of older devotional music. The final piano medley moves from the religious to the gentle commemorative Cali's Jig, ending neither high nor low, as befits this powerful and cathartic collection.
© Alex Monaghan
