FolkWorld Issue 38 03/2009
Label:
Mulligan Records; LUNCD 3002; 1975/2008; 14 tracks, 47 min
Having just shed Tony MacMahon and Paddy Glackin, the Bothy Band's line-up for this historic recording was the Ó Domhnaill siblings Tríona and Micheál, Paddy Keenan, Matt Molloy, Donal Lunny, and the mighty Tommy Peoples who was later replaced on fiddle by young Kevin Burke. The melodic firepower is awesome on these eleven instrumental tracks, and the three songs only scratch the surface of vocal talents which were fully revealed in later performances of Fionnghuala and The Heathery Hills of Yarrow. That wonderful harpsichord version of The Butterfly is here, as is the unforgettable canter along The Tar Road to Sligo. As if you didn't know, 1975 is a must-have album and this CD release is more than welcome. The Bothy Band's live recording from Paris is now also available, so no excuses for not updating those LPs!
www.mulliganrecords.com
Alex Monaghan
Label:
Own Label; 2008; 11 tracks, 43 min
This is innovative harping, true to the roots of the music but adding new fruits and branches, without gilding the lily. The old, the new, the borrowed, and even the blues are polished and embellished by Ailie's harp. Marry Me Now, Spirits and The Lisnagun are just some of the wide and well-chosen selection which First Things First spreads before us. The notes are adequate, the artwork is striking, and the whole CD is nicely balanced. Www.ailierobertson.com has online purchasing, but no samples last time I looked: however, I'd be amazed if anyone is disappointed by this recording. First rate music, first class playing, and first place on my list of albums for 2008: Ailie Robertson's debut CD has all three.
www.ailierobertson.com
Alex Monaghan
Label:
Own label; 2007; 8 tracks, 40 min
The Granny Bag could have stepped off a Lúnasa recording, except for the gaita part. High-octane whistling from Gabriel Wandelmer holds the reel-time melody while guitars and percussion do their stuff. The Forge Jigs are another set of Alalé compositions, Ciaran O'Donghaile adding flute to Wandelmer's low whistle. We travel east to Greece for Bazaar Rumours, then it's back to reels before a splendid Galician follada in festival mood. Squealing Cats introduces Ciaran's uilleann piping on a set of traditional reels, with first-rate playing on a couple of old favourites.
Alalé are a four-piece, with the two front men supported by David Cardona on bodhrán and Fergal Walsh on strings and keyboards, plus a number of guests playing guitars and banging things. Although Wo Japen is quite short, they keep the excitement going to the end. A most unlikely waltz leads into the climactic Rumbas from Alcarria and Galicia. The music bursts forth from flutes and whistles, simply irresistible. Slightly off the wall, but highly enjoyable: check them out at www.alale.ie or catch them live around Galway.
www.alale.ie
Alex Monaghan
Label:
Macmeanmna;
SKYECD 45; 2008; 12 tracks, 62 min
There's a rousing march, a hornpipe and a waltz before you get anywhere near the strathspeys and reels. The Inverness Gathering is a lovely tune, and The Cameronian Quickstep has been a ceilidh favourite for ever. In Memory of Herbie MacLeod is new to me, a Jerry Holland composition of the usual high standard. A clutch of strathspeys is followed by an intriguing selection of reels: Le Petit Cheval Rouge from Quebec, West Mabou Reel from Cape Breton, Kelsae Brig from contemporary Scottish fiddler Ian Hardie, and Donald Kerrigan's stunning Stone Frigate, truly eclectic and breathtakingly performed.
From a pibroch air to a Gaelic song, a set of Hebridean hymn tunes, and a pair of retreat marches ending with the simply beautiful My Home Town by John MacLellan of Dunoon (surprisingly enough), Lochbroom spans the entire spectrum of tasteful piping. Current favourites such ss John Keith Laing, Islay's Charms, Chasing the Ferry and even Davy Spillane's Atlantic Bridge bump up against piping classics including Inveraray Castle, The Smith of Chilliechassie, Elizabeth's Big Coat and a charming jig-time setting of Mrs MacPherson. There are moments when the modern offbeats collide with strict military tempo, but overall this is a dazzling display of all that's good in Scottish piping. No electrics, no studio sorcery, no backing band: just solo piping at its best.
www.gaelicmusic.com
Alex Monaghan
Label:
Own label; 2008; 15 tracks, 46 min
From the first notes of Church Street Polka to the last breath of reels some three quarters of an hour later, this is powerful fluting. While many of the tunes are simple, they are delivered with deliberation: Maurice O'Keeffe's Polka has something of a military quickstep about it, and the Gold & Silver Marches fit into the same mood. The jig version of Greensleeves is new to me, and I'm sure I would have remembered Lesbia Hath a Beaming Eye. Conal includes two slow airs in these fifteen tracks: Lament for the Death of Staker Wallace, a rather formal piece, and Cuan Bhéil Inse also known as Amhrán na Leabhar which is achingly rendered here. Cnoc Buí is pure flute throughout, not technically perfect but passionately played, stirring stuff indeed.
www.myspace.com/conalograda
Alex Monaghan
Label:
Feadóg Mór Music; 002; 2008; 23 tracks, 59 min
You get the idea: contemporary players, some who have not recorded before, garnished with the occasional old master. There's some great music here from youngsters: The Boys of Ballymote is delivered by Finbarr McGreevy with total control, a mini masterpiece, and Bonnie Prince Charlie is a Scots or Donegal march powerfully played by Bronagh Needham. Other highlights include Alexander's Hornpipe, The Red-Haired Lass and the air Lament for Tom Hale. Tom is one of three whistle-players featured on this CD: his sparkling version of The Mason's Apron was recorded only a couple of years before his untimely death, and like several players here his music has not been heard as widely as it deserves. Full marks to Jon Wynne and his team for remedying that, and for putting together a fine hour of flute music.
www.roscommonarts.com
Alex Monaghan
Label:
Vertical Records;
VERTCD 086; 2008; 10 tracks, 46 min
In a surprise move, Storm in a Teacup features a collection of the most maudlin modern me-culture madrigals you could wish to encounter. Southside Blues starts the CD with the line There's nothing left inside my heart to sing, yet it goes on for almost five minutes. Maybe I Should Leave is a little more meaningful, but you know what, maybe you should. Is It the Sea? is almost as miserable, but it does boast some uplifting vocals and you can never get too depressed with a banjo accompaniment. The title of Sad Times is a bit of a give-away, and although there is a spark of hope at the end this is the fourth song in a row about drink, drugs, depression, despair. Fade Away follows in a similar slashed vein. If it weren't for the cheerful tunes, this album would carry a health warning. I've no objection to the occasional sad song, and I know life in the Highlands is not a picture postcard, but there must be something nice to sing about occasionally.
Anyway, the excellent instrumental sets manage to balance the mood with a lot of swing and a bit of brass. Guest Rick Taylor provides trombone and marching tuba, with drums and bass from some well-known session musicians. El Cumbanchero is the final track, more freilach than flamenco to my ears, but none the worse for that. Harem Scarem do the gypsy band bit supremely well, with roses held in their teeth no doubt, and this number restores much of the polish which was stripped by the alcohol and razor blades earlier. As a result, Storm in a Teacup finishes as a five-all draw between the Desperados and the Devilmaycares. It was a good game, with plenty of thrills and spills, but I know which team I wanted to win.
www.haremscaremscotland.co.uk
Alex Monaghan
Label:
Old Bridge Music; OBMCD18; 2008; 14 tracks, 48 min
Husbands Arty and Chris provide rhythmic and harmonic backing, plus some influences from the guitar world. Tom Cronin's Homework is a real Deliverance throwback, visceral rhythms and primal harmonies. The Yellow Barber and Gold Rush are drawn from the old-time and bluegrass traditions, while El Vals Argentino has its roots a little further south. The boys even get a track to themselves, Saturday Night Shuffle, a blend of ragtime, swing and rocky elements, great fun on assorted guitars.
Another word I'd agree with from that press release is "effervescent". The energy here bubbles over in several places. Chris Newman's Wild Goose Chase sets proceedings ablaze with a frenzied fiddle line, to be rekindled later by Nollaig's own Shooting Star. A trio of traditional reels finishes Heartstring Sessions in suitably upbeat style: harp and fiddle spark off each other, while guitar pyrotechnics flicker in and out. The final change into The Crooked Road throws fresh fuel on the fire, fanning the music to new heights. A warming album in all senses! More information is available from www.oldbridgemusic.com, as are many previous albums from these respected musicians.
www.oldbridgemusic.com
Alex Monaghan
Label:
Mulligan Records; LUNCD 3027; 1979/2008; 12 tracks, 39 min
There's plenty more good stuff on this CD. Jenny Picking Cockles is done in the low octave with a lovely growling tone. The Castletown Connors and Happy to Meet are rattled through in fine style. Lord Gordon's starts a virtuosic set of reels, including The Chicago which is a favourite of mine. The title track is something special again, striking slow versions of two well-known jigs, poignant and compelling. I won't say this was Mairtin's best album, but it was certainly an excellent start and shows both where he was coming from and where he was headed. fascinating for any box-player, The Connachtman's rambles is also a good listen with a mix of polkas, hornpipes and slower tunes between the jigs and reels.
www.mulliganrecords.com
Alex Monaghan
Label:
Own label; 2008; 10 tracks, 47 min
Some might take issue with the phrase "perfect guitar accompaniment" applied to Irish music, but if you have to have a guitarist you'd be wise to look in County Antrim and you couldn't get much better than Paul McSherry. His strumming drives the jigs and reels, and his rippling runs and arpeggios provide the ideal backdrop for Gerald Fahy's air Magh Seola. There's interesting little bits and pieces going on behind Johnny O'Leary's Polka, and Paul takes the lead on a silky slow version of The Kilavil Jig. Brendan Mulholland's composition The Lost Ring follows seamlessly as a flute and guitar duet, and Brendan Hendry finally takes his bow on the Jerry Holland tune Malcolm's New Fiddle. That's Jerry with a J, from Boston. Neither Jerry nor anyone else joins the trio here: Tuned Up is all their own work, and very proud of it they should be too. Might be hard to find, but www.paulmcsherry.com has sample tracks.
www.paulmcsherry.com
Alex Monaghan
Label:
Own label; 2008; 11 tracks, 56 min
Of the eleven tracks here, four are vocal-led, four are pure instrumental and three are a blend of both. Here I Am is another hard-hitting contemporary song. Slower, but no less impassioned, are MacCrimmon's Lament and Ged Is Grianach An Latha, both with Gaelic vocals from Rachel. Other highlights for me were the Drunken Duck set, particularly the fascinating middle tune The Cuckoo, and the final English-American medley Dancing on the Wireless with compositions by Bela Fleck and Jay Ungar. This is not all pretty music: it's raw, vibrant, powerful but never rough. The Shee are definitely going places, and they have several directions to choose from. Young Poozies? Silly Witch? Maybe one day Girls of the Lough? Hear what A Different Season has to say, and make your own predictions.
www.theshee.com
Alex Monaghan
Label:
Own label; SHMCD01; 2008; 12 tracks, 52 min
In contrast to the authentic Celtic instrumentals, the three songs here are quintessentially English. As well as playing guitar and bouzouki, Eoin Teather sings the Martin Carthy version of Arthur McBride in a rich Northern voice. The Father's Song and Green Grass Grows Bonny are several shades darker: a Ewan MacColl lullaby of social ills, and a ballad of unrequited love intended as a duet. Cath shifts to viola for these tracks, and Martin moves onto bouzouki or piano, providing deep and textured accompaniment without extending the trio. Skyhook's only guest is Mike Fleming, who provides double bass on some of the instrumental tracks. There's a touch of string-band on Huckleberry Hornipe, plenty of fun names like Beardy Face and Turbo Duck, and very little indeed to complain about. I'd definitely recommend this recording to anyone with a taste for twin fiddling: a very fine debut from Sheffield-based Skyhook. The notes and packaging are well above average too.
www.skyhookmusic.com
Alex Monaghan
Label:
Heilo; HDVD 7209; 2007; 24 tracks, 88 min
Liz Carroll's compositions sparkle as ever, The Champaign Jig and Fremont Center are well known, and Tune for the Girls was written specially for this line-up. More Liz Carroll tunes and more Irish traditional material fills out the dozen or so musical selections, each one introduced by its own track of remarks and repartee. Pat & Al's Jig, For the Love of Music, Paddy's Trip to Scotland, Leslie's March, Dinky's and other Irish favourites are gently caressed or savagely attacked by these formidable females. Annbjørg fills the role of MC with flair, and plays a beautiful solo on the Hardanger fiddle in addition to the ensemble pieces. Surprising elements of the String Sisters' repertoire include the song Saviour of the World from Estonia, and a couple of Liz Knowles tunes with names like Rumble Thy Bellyful and Toss the Fiddles. The final romp through assorted reels is a corker, and the encores just get better and better. The live audience was in no doubt about the quality of String Sisters' music, and neither am I: this is world-class fiddling alright. The notes are full and informative, with all the lyrics in original and English translations. There's also a CD version, with a lot less talk.
www.grappa.no,
www.stringsisters.com
Alex Monaghan
Label:
Mulligan Records;
LUNCD 3021; 1978/2008; 8 tracks; 38 min
There's an inspired rendition of The Star of Munster and John Stenson's reels. There's that Bothy Band classic Julia Delaney's. There's some tasty box-playing from Jackie Daly, flute and pipe cameos from a young Peter Browne, and nicely muted accompaniment from Brady, Lunny and Ó Domhnaill. But mostly there's exquisite fiddle-playing in that slightly low-key style Kevin has always had, slowing the phrase or bending the note, choosing melodies with more to give and putting them together, releasing those hidden notes which make a tune sing. Sounds fantastic, I know, but this is fantastic music. If you look for the common factors in the best Irish music for the last thirty years, the name Kevin Burke keeps cropping up. If the Cap Fits contains the early essence of his music, solo and with friends, and maybe even points the way to the music of Martin Hayes and others. This 30-year anniversary re-issue is a great addition to Irish music on CD.
www.kevinburke.com
Alex Monaghan
Label:
Mulligan Records;
LUNCD 3017; 2008; 15 tracks; 36 min
There are reels enough, of course. Speed the Plough leads nicely into the piping version of Toss the Feathers, The three parts of The Limerick Lasses slip smoothly into the five-part Foxhunter's Reel. The confusingly titled Silver Spire is another great example of the flute and fiddle duet, rounded off by Drag Her Round the Road. Some of the duets don't quite take off, but the solo tracks are all outstanding: three from Matt Molloy and one from Tommy Peoples. Matt is superb on The Scotsman Over the Border and The Kilavil Jig, and his solo reels are bursting with energy. Tommy's one solo number explores the intricacies of two big jigs often neglected.
And what of the young Paul Brady? One of the best things about this album for me is that Paul is content to sit quietly in the background, adding little touches here and there but basically doing the job of a good session guitarist, which he undeniably is. He plays a nice little solo on The Rainy Day, and sings a very compelling unaccompanied version of The Shamrock Shore, but doesn't distract too much from the flute and fiddle. Well played, well produced and well remastered, this is a well-rounded and entertaining CD, great to see re-issued in Mulligan's current revival.
www.mulliganrecords.com
Alex Monaghan
Label:
Vertical Records;
VERTCD088; 2008; 12 tracks; 50 min
Bridging the Gap is divided into three movements. The first includes four tunes: Baby Broon, Space to Breathe, Slowing Down, and Vanessa Edward's Enviable Rhythm. Starting with a splendid minor reel, the tempo moves to a slow jig and then to a sumptuous slow air. So far there's nothing which would be out of place on any modern Scottish album, but the 7/8 rhythm of the final theme immediately cries "Balkan", emphasised by the Dorian mode of this hypnotic tune. The second movement contains the much more orchestral Strath Sunrise, an evocative piece in the Scandinavian-sounding Lydian mode, almost a tone poem, followed by Two of a Kind as a bagpipe-style military march.
The final movement reprises Baby Broon before launching into a four-part medley. The powerful strathspey Not From These Parts echoes a small number of older Scottish melodies in the Phrygian mode, often ascribed to trollish or faerie musicians. Parts of this track slip into the Locrian mode, adding a manic edge to the melody. Five is Better is firmly in 4/4 time, so I presume it refers to the five-string fiddle which Patsy plays here: the lack of notes on the tunes is my only real criticism of this release. At the Edge is an atmospheric slow reel, and the final hornpipe Life is Good certainly left me feeling that way. Classical or jazz gurus might mention the counterpoint and structure, the riffs and grooves, but for me these just add depth and lift to what is essentially an excellent recording of contemporary Scottish fiddle. Yes, it blends in other influences. Yes, it pushes the envelope of modes and rhythms. No, I don't mind that: Patsy Reid has done a perfect job of weaving all these strands into one cloth, giving us great width without compromising on quality. Bridging the Gap is definitely in my 2008 top ten.
www.patsyreid.com
Alex Monaghan
Label:
Essay Recordings; 010; 2006; 13 tracks, 66 min
The marketing behind this CD emphasises the Remixed title: half the tracks are new, and the other half are re-mixed or otherwise messed about with by several producers and DJs. This makes for a very varied hour of music, all of it klezmer at the core, with touches of rap, hip-hop, grunge, ska, whatever. Lots of whatever, actually. AKB has all the key elements of a great klezmer band: clarinet, trumpet, bass and acordion recreate the sound of Eastern Europe, while the sax, trombone and drums give a big-band fullness. Depending on the track, things can stray into jazz or back to basic Balkan roots. Remixed is mostly dance music, with not much singing - a big plus - and the occasional spoken vocal. Highlights for me were Constantinopel Babes with gorgeous guest oud, the humour-loaded Rumania Calling, and the final Odessa's Blast Out.
Klezmer novices, klezmer purists, and the all-you-can-eat fans will all find something they can get their teeth into here. Remixed is wide anough to appeal to the Jewish home crowd, and the quality is world class.
www.amsterdamklezmerband.nl
Alex Monaghan
Label:
Essay Recordings; AYCD 19 ; 2008; 15 tracks, 57 min
AKB have the ability to sound like a Jewish wedding band, a European cabaret act, or an Arab orchestra. All these genres and more are spanned by the band's own compositions. Op Een Goppe and Vesna are cosmopolitan show-band numbers. Netty slows things to a moody waltz tempo before three pumping Balkan pieces, including The 7th Seven which curiously enough is track 9. Doina Banjo is a little different from the Irish or Bluegrass style, and leads into probably the weakest track here, but all is forgiven and forgotten in the melodious maelstrom of Kolodobre. Coming towards the end of Zaraza the frenetic energy is unrelenting. Another slow track wouldn't have hurt, a chance to draw breath before the title tune and the big finish of Gde. AKB themselves seem a little puffed on the final laps: there's a breathlessness to the vocals, and a wildness to the final tune, which suggest the end of a great party. And rightly so: a good time was definitely had by all, and nobody will be going home disappointed with this album. Www.amsterdamklezmerband.nl provides more info, lots of music samples, and advice on where to get your next fix of AKB.
www.amsterdamklezmerband.nl
Alex Monaghan
Label:
Own Label; 2007; 15 tracks; 47 min
This recording includes eight compositions by the threesome, along with other Irish American influences, but the majority of the material is solid old traditional melodies. A couple of polkas start proceedings, compositions by Jeff and fellow fluter Kathleen Bremer, with the twists and turns of Sliabh Luachra. Spootiskerry, attributed to Ian Burns, is joined by Heather's reel for Seamus O'Kane. Jeff's charming waltz Inion Ní Mhicheál precedes a pair of whistle-led jigs with a lovely change into Scatter the Mud. Two traditional slides round off the first section of this album.in great style.
There's a slight waning of confidence and attack in the midddle section, but things pick up again with a lively bodhran intro to Drowsy Maggie and The Mountain Road. Three powerful sets of polkas follow, including the catchy Heather's Polka, before the traditional Paper Plate Slide brings us to the final hornpipes: The Home Ruler and Cronin's, played with bounce and enthusiasm, and maybe just a touch too much guitar. I'm looking forward to hearing more from Athas, and they're definitely worth catching if you're passing through Milwaukee.
www.athasmusic.com
Alex Monaghan
Label:
Own Label; TMKCD073; 2008; 12 tracks; 54 min
As listening music, There Y'Are Now has even more to offer. The horn section turns Ceilidh Minogue into a sort of tartan La Bottine Souriante, bags of energy and more than a few humorous touches. The slides on The Black Bear are priceless, the brass background on The Dasher is inspired, and the smoother side of brass brings out the beauty of Bennachie Sunrise. These guys can take the dance music seriously as well: the change into a jig in The Gay Gordons is truly uplifting, the boys are always on the beat, and the tempo is rock solid. Nice touches abound on almost every track: the hard-hitting start to MacArthur Road, the growling fiddle on King's Reel, the little riff in Stan Chapman's, and great harmonies on Snug in a Blanket. I'd prefer a little more staccato in Tam Bain's Lum, and perhaps a touch more snap on MacKenzie Hay, but this is undoubtedly a first-class album and a fine follow-up to their 2006 CD. Led by Gregor Lowrey amd Gavin Marwick on box and fiddle, Ceilidh Minogue's regular rhythm section is pianist Bob Turner and drummer Alastair Morrow. They are augmented here by Duncan Findlay on fretted strings, and that horn trio of course. Tastier than a deep-fried pizza: get up and dance, or sit back and listen, but don't miss Ceilidh Minogue.
www.ceilidhminogue.co.uk
Alex Monaghan
Label:
Pond Chicken Music; CHIK001; 2008; 12 tracks; 46 min
Starting with a tune I know as Lord Mayo, the harp duets sparkle and stir by turns. There are eight of Gillian and Fraya's own compositions here, ranging from the frankly funky Bendy Tune to the straight strathspey Lillian Ross of Inverness: all are well worth hearing, The Boys groups three of them into a rich and varied medley. The Duplets also have a good ear for other people's compositions: Steve Cooney, Diarmuid Moynihan, Jarlath Henderson and Angus MacDonald are among the contemporary composers credited. Gillian and Fraya are joined on a few tracks by Duncan Lyall and Donald Hay on bass and drums, and on a couple of sets by the fiddle of Gabe McVarish and the banjo of Tam Kinsella.
The strength of this CD is definitely in the instrumental tracks. My favourites are Donald Blue, The Up Downey, Good Man in the Kitchen and that bendy tune. Tree of Strings is not a highly-polished or over-produced album, and it's all the more refreshing as a result. The atmosphere is more like a small informal concert than a studio recording, full of spirit and spontaneity. A very creditable first album, and a great name for a record label.
www.theduplets.com
Alex Monaghan
Label:
Own Label; GQ CD 001; 2008; 11 tracks; 38 min
Like his musical tastes, Gary Quinn's compositions range from the straight to the offbeat. On the one hand, West of the Corrib and Liv's Lectric Smile will be easily absorbed into the tradition, while the jigs Western Rest and Eastern Test lie well outside the inner circles of Irish music. Gary also writes a mean slow air: Web of Life is a starkly sad melody, evoking lonely places and ancient stories. A couple of sets of straight reels follow, some traditional including the punchy Wedding Reel, and some by Gary with a cracking change from Why Daddy? to Don't Know Son.
The Children's Carousel, a newly-written old-time waltz, contrives to sound like a fair-ground organ. More fine reels, The Boys of Malin sandwiched between one of Sean Regan's and one of Gary's, and then the final track is a piece of honky-tonk madness, Joplin music from Scott to Janis, and everything in between. Keep Her Lit is expressive, fun, and full of twists and turns. While the button box leads every track, there are several guest musicians scattered through this recording to vary the mix, some sharing the composing credits. You could find more technically accomplished box-players, but Gary Quinn's tunes are a joy to listen to and his heart is always in the right place, even when his fingers aren't. Well worth seeking out.
www.gquinn.ie
Alex Monaghan
Label:
Nordic Tradition;
NTCD12; 2008; 22 tracks, 56 min
Almost all the 22 tracks here hold a single tune, giving the melody time to make an impression. Some of the tracks rapidly become hypnotic: Livs Levande and Möllersas Jubileumshambo have this effect on me. Others are simply beautiful, such as Polska Efter Johan Christian Blomgren and Silverpolska. Waltzes, polskas, spring dances and the occasional minuet fill almost an hour with powerful dance music, and several of Karin's own tunes fit seamlessly into this rich and ancient tradition. The entire album is unaccompanied solo fiddle, with fabulous expression and barely a note out of place. It's no surprise that Karin Wallin recently won Sweden's highest award for traditional musicians. If you want to broaden your appreciation of fiddle music, you should definitely hear Guldpolska.
www.karinwallin.se
Alex Monaghan
Label:
Own Label; WILDCD101; 2008; 12 tracks, 55 min
Many of these melodies would also fit on the highland pipes, and the style has been influenced by pipers, but this is fiddle music through and through. The rapid runs, the dancing bow, the double-stopping and glissando ornamentation all mould a tune such as Cuir Sa Chiste Mhor Mi to the fiddle. Many of the nuances of west highland music come from the Gaelic language which was shared by pipers and fiddlers, so the shape of a strathspey like Cha Toir Iain Mor an Nighean Dhohm is dictated by the words of the associated mouth-music which also shaped the piping version: chicken and egg in many cases, but the Gaelic language definitely gives a recognisable character to this music. Nowhere is this more true than in the Gaelic slow airs such as Nuair a Chi Thu Caileag Bhoidheach, played beautifully here. As far as I am aware, there are no words to the more recent air The New House in St Peter's, which Ronan interprets with equal passion and skill. The final two tracks step slightly out of the box: a super-slow version of The Humours of Cork contrasts with an eclectic selection of reels which ends on G S McLennan's legendary Mrs MacPherson of Inveran. Powerful stuff!
www.wildcat-records.com
Alex Monaghan
A couple more bouncy jigs and reels precede another slow air, The Black Craig, followed by the evocative Toast-a-Mouse. Like several of Fiona's tunes, this one owes a lot to American swing and country fiddling which has always been very popular in the Northern Isles. Tiny & Flo provides a total contrast with its dark modal Scandinavian feel. A lovely pair of waltzes is followed by Simpson Swing, an old-time reel written in one minute but none the worse for that! Three catchy jigs revert to traditional Scottish mood before another swingy set starting with Beware of the Deadly Night Chickens (there isn't a lot of excitement in Orkney). Another slow air brings us to the final Rats & Kippers: two fine reels in frenzied mood for a fitting finale.
Orkney Fire is an unusually quiet recording: I had to turn my headphones right up at times to catch the subtleties, but it rewards careful listening. You might even hear the neighbour's cow. Fiona is expertly accompanied by Graham Simpson on guitar and drums, with guest spots from a couple of friends. Graham plays a pair of his own tunes on fingerpicked guitar. There's also one song here, Circles and Squares written and sung by younger brother Merlyn Driver: modern acoustic introspection, nicely delivered, adding a bit more variety. Otherwise it's thirteen tracks of fine fiddling, all new compositions except for a couple of borrowings. Fresh talent is here in abundance, and I'd say Fiona's third CD won't be too long in the making.
Label:
Own Label; FDF004; 56 min
www.fionadriver.co.uk
Alex Monaghan
Label:
Compass Records;
4499; 2009; 11 tracks; 41 min
Niamh Dunne drops the tempo with four songs, two slow and two not so. Mary danced with Soldiers is a country tear-jerker with a delicate arrangement. Strange Things lives up to its title, a rousing gospel anthem given the Harlem treatment. On the Way is a new composition from Derry's Joe Echo, who joins Niamh for this slice of urban Ulster pop. The Best is Yet to Come finishes this recording with a sentiment I can heartily agree with: Beoga go from strength to strength. The boys also slip in a gentle old-time waltz for completeness, so you could almost give this album to your granny. A few guest singers and musicians add variety, but Beoga's general sound is still the tight double-box mayhem of previous outings. Anyone who hasn't heard Beoga will be amazed by The Incident, and existing fans will not be disappointed. At least as good as their second CD, and better than most recent Irish releases, The Incident is widely available. For more information try www.beogamusic.com, where you'll find almost everything except an explanation of the album title.
www.beogamusic.com
Alex Monaghan
Label:
Lyonsie Records; NLCD001; 2008; 11 tracks; 28 min
Behind it all is your man Neill Lyons, battering away on a modest-sized drum with a bundle of sticks for a tipper, in the manner which won him the first World Bodhrán Championships in 2006. There's a bigger sound on two sets, with Andy Morrow and Peter Browne joining in for Connie the Soldier, Wheels of the World and Pretty Girls of Mayo, but the bodhrán still holds its own: steady as a rock, powerful as an express train. When someone first suggested you could play a bodhrán with skewers, this probably isn't what they meant. The composite tipper has a complex sound, more modern somehow, and certainly very popular at the moment. I'd have liked to hear the thump of the old solid wood from time to time, particularly on Moll Ha'Penny, but that's not Neill's style. The two drum solos show what this young master can do: a solid beat with plenty of flamboyance, good lift, and a fine balance between slap and tickle. As an example of subtle, sensitive modern bodhrán, supporting the tune rather than overwhelming it, this recording is outstanding. On a longer album, you might expect to hear more solo virtuosity: keep an eye on www.neilllyons.com for that!
www.neilllyons.com
Alex Monaghan
Label:
Own label; 2008
The CD starts with a terrific cover version of Kate Rusby’s “the bonny cow”. Geri plays all the instruments; from rhythm to harmony and singing this is a pure Janette Geri production. She has a hauntingly beautiful and warm voice that puts instantly a spell on the listener. No matter if she sings traditional songs, Fairport Convention, Robert Burns or other historical ballads she gave them a new and wonderful re-make. Wonderful harmonies coupled with stirring rhythms and angelic singing make her music a real treat for your ears. Richard Thompson and Dave Swarbrick (Fairport Convention) wrote “crazy man michael” and Geri’s version is absolutely mesmerizing. The traditional “strichen toon” has been recorded together with Jason Resch on electric guitar and Phil Smith on bass. This song sticks out with the playing together of Geri’s acoustic rhythm guitar and Resch’s rather heavy solo guitar as well as the passionate singing and rhythm. The following “the water is wide” is a melancholic and lovely love song with words by Robert Burns. And the final “hard times” by Stephen Foster (1826-1864) introduces us to the fine clarinet playing of Billy Abbot.
This album was a real surprise for me as I had never heard of Janette Geri before. Well unfortunately here in Europe we don’t easily get to hear non commercial music from the other end of the world.
janettegeri.wordpress.com
Adolf 'gorhand' Goriup
Label:
Own label; 2008
The CD opens with the traditional soft ballad “The Chickens they are crowing” and Sarah’s warm and mature voice. Her gifted singing is accompanied by the gentle sound of O’Beirne’s 12-string guitar, the Ebow and Shipley’s soft fiddle playing. “West Virginia Boys”, another traditional song, stands out with brilliant percussion playing and Sarah’s jazziest singing. “Shady Grove/Cluck Old Hen” has been interpreted by McQuaid and O’Beirne as an instrumental set. Sarah learned “Wondrous Love” from Jean Ritchie and sings it a capella together with Bradley and she brings forward the traditional “The Wagoner’s Lad” solo with just some guitar chords. Finally “The last Song” is one of her two own songs, beautifully accompanied by Breatnach on viola and Hutchinson on double bass.
McQuaid is a brilliant singer and chose some beautiful songs for her album. The arrangements are simple but striking and the musicians accompany her singing perfectly. The style changes from a capella singing to guitar songs, from folk to jazz and from rhythmic to melancholic. For me this singer with both Irish and American citizenship is certainly a revelation and I’m sure her album will be a great success.
www.sarahmcquaid.com
Adolf 'gorhand' Goriup
Label:
MoscoDisc; 2008
The CD starts with a stunning version of the Rolling Stones Hit “Mother’s little Helper”. I better not compare the original version in respect for these pioneers of modern rock music. McEvoy’s music is a wonderful mix of cool jazz harmonies with great rhythmic highlights. Her voice is like a sip of fine red wine that caresses your senses and the arrangements are equally outstanding. The self-crafted title track combines harmonic contemporary rhythms with hauntingly beautiful tunes and exceptional singing. The musical arrangements with violin and brass winds are excellent and rhythmically McEvoy’s music is hilarious. Listen to the funky cover version of “If You want me to stay” (S. Stewart). She also plays Rock’n’Roll like on “Hands off him” (Bowman/McShann) and she does it perfectly. But you will also find hauntingly beautiful ballads and romantic songs like the catchy song “Easy in Love”.
The album is a great sample of contemporary Irish music and proves that there’s more than traditional tunes and songs to play. I really do love folk music but I also appreciate musicians that try something else. So listen to it and let seduce yourself by Eleanor’s alluring voice.
www.eleanormcevoy.com
Adolf 'gorhand' Goriup
Label:
No Masters; 2008
Freya sings and plays saxophones, clarinet, low whistle and keyboards and she’s accompanied by some amazing musicians including Lal Waterson Project companions Jude Abbot (Flugelhorn, trumpet, vocals), Neil Ferguson (keyboards, bass, guitars, vocals) and Harry Hamer (percussion) as well as Breton musician Hélène Brunet (Portuguese guitar).
Starting off with the rhythmic title track featuring saxophone, flugelhorn, keyboards, Portuguese guitar, tablas and Freya’s beautiful voice the CD leads us through a world of extraordinary music and sounds. Beautiful melodic songs are followed by traditional tunes from Brittany and jazzy songs like “A Thief can too”. Here Abbot sings the beautiful harmony vocals and Ferguson accompanies Freya on bass and guitar, while the lead vocals and the tenor sax dominate this original song. Freya’s “Chasing Water” is a wonderful a Capella trio followed by a terrific saxophone solo and Lal Waterson’s “Marvellous Companion” is another beautiful song with three singers, this time with great musical arrangement. My favourite track is a set of two Breton dances called “Bois Tortu/Gavotte Montagne”. The first, a “Tour”, stands out with excellent singing together of Jo and Jude accompanied by the Portuguese guitar and the latter, probably one of the most famous dances in Brittany, adds the sound of the soprano saxophone and the cajon. Traditional songs like “Edwin in the Lowlands Low” or tunes like “Claire Connor’s Lament/Dairy Diary”, a waltz and a step hop hornpipe, complete the diversified choice of music styles.
For me this album was a real revelation. I didn’t know Freya before and I was completely thrilled by the outstanding musical arrangements and interpretations. Unfortunately there are no samples on the website, but have a look anyway.
www.freyamusic.co.uk
Adolf 'gorhand' Goriup
Label:
Sid Norris Recordings 2008
O’Donnell and his band mates Martin Barter (keyboards, vocals), Mark Fulton (basses), Dave Perry (guitars), Mark Ingram (electric guitars) and Paul Johnson (drums) have recorded eleven tracks, mostly traditional songs and tunes as well as an original O’Donnell song.
The CD starts with the march set “Brian Boru/O’Neill’s Cavalcade” and its breathtaking rhythm. You can hear five more instrumentals like for example a set of jigs including Frankie Gavin’s “Wren’s Nest”, a tremendous jazzy reel (“The Maid I never forgot” - my favourite tune) as well as a great Breton set.
But there are also some hauntingly beautiful songs like the famous “P is for Paddy” with wonderful piano and violectra accompaniment and the rather up-beat Folk-Rock song “Cam Ye o’er frae France” or O’Donnell’s psychedelic rock song “Song of the Nations”.
I didn’t know O’Donnell’s music before and I was amazed by the splendid mix of folk, rock and jazz, that distinguishes the album. These guys have developed an awe-inspiring sound and they managed to put these old tunes and songs in a fresh and airy dress.
www.joe-odonnell.com
Adolf 'gorhand' Goriup
Label:
Ridge Records; 2008
On his latest release “Stay Strong” he is joined by three members of Runrig, Gordon Gunn as well as by some top musicians and singers from Scotland, Nova Scotia and the USA. They recorded 13 original tracks, 7 songs and 6 instrumental tunes, in Glasgow, Skye, Orkney, Sweden, Louisiana, Nashville and Nova Scotia, an international and (nearly) all Celtic project.
The CD starts with “Martyn in Mind”, a brilliant pipe tune performed by the Scottish piper Gary West. It is a tribute to Martyn Bennet, who sadly passed away at the age of 33. Eddie Reader and her brother Frank sing the sad song “The Soldier’s Lullaby” for Rose Gentle, who lost his son during the invasion of Iraq 2004 and since then campaigns against this stupid war. Scottish singer Vivien Scotson and Rory MacDonald (Runrig) share the vocal tracks on “Lewis Love”, a song about the loss of 205 lives – men drowned near Stornoway when they returned from the first world war – and Kathleen MacInnes and Arthur Cormack perform a wonderful duet on “Tàladh an Iasgair” (The Fisherman’s Lullaby). Dundee born Michael Marra sings about one of the biggest catastrophes in modern America, the Hurricane Katrina (Rester fort la Nouvelle-Orléans). Douglas also wrote a beautiful jazzy tune about the Atchafalaya Basin in Louisiana. Then Kathleen MacInnes changes the mood and brings forward a lively song about Skye women pondering about the vanities of the Skye male (´s barail Leam – That’s what I think). The Rees siblings from the American band L’Angelus and Runrig singer Bruce Guthro plead “Acadie, sing me home” and Douglas invites us with a breathtaking rhythmic tune to “Keep the Céilidh funky”.
The album is a terrific piece of musical art featuring some of the finest Celtic, Cajun and Jazz musicians from three corners of the world. Blair Douglas is not only a brilliant accordion player and composer, but also a dedicated poet who cares for humanity and peace. For me this is one of the best albums of the year 2008.
www.officialblairdouglas.com
Adolf 'gorhand' Goriup
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