FolkWorld #50 03/2013

CD & DVD Reviews

Emmett Gill & Jesse Smith "The Rookery"
Own label, 2012

Mick O'Grady, Jesse Smith, John Blake
"At My Grandmother's Knees"
Own label, 2012

www.gillandsmith.com

Traditional Irish fiddler Jesse Smith hails from Baltimore. In the last 15 years he played on Danú's "Think Before You Think",[16] his solo album,[25] with flutist Harry Bradley[27] and accordionist Colm Gannon.[42] The first of Jesse's new albums is a collaboration with uilleann piper Emmet Gill, who comes from the London Pipers Club.[39] Jesse and Emmett have been playing together for over a decade and this duet recording is a selection of old Irish traditional dance tunes - our favourites at the moment, as they say. The tunes (sometimes rare versions) are sourced from the playing of pipers Willie Clancy, Seamus Ennis and Leo Rowsome, fiddlers Tommy Peoples and Bobby Casey, and O'Neill's and Joyce's collections. Furthermore, Emmett has a great love for 78 rpm recordings (He is behind Oldtime Records, a label that reissues Irish music from the 78rpm era.) I'm especially fond of the reel "The Lame Fisherman" (which is an obscure variant of "Sweeney's Dream"), "Burns's Farewell" (which might be recognized as the air to the popular song "The Parting Glass") and a set dance version of Turlough O'Carolan's "O'Reilly of Athearne." Emmet is an uilleann piper with impressive technique (he’s playing a C Koehler and Quinn set) and blends perfectly with Jesse's virtuosic playing.

On Jesse's other album, “At My Grandmother’s Knee,” he is playing alongside fellow fiddler Mick O’Grady and pianist John Blake.[11] The album is a celebration of O’Grady's fiddle music. He grew up on the Roscommon/Mayo border and learned from many of the regional players, where the likes of Fred Finn, Peter Horan and Martin Byrnes had a deep influence. O’Grady spent time working in England and the US, and has been one of the featured performers on the renowned "Music at Matt Molloy’s" album. These days he lives in Dublin, where he hosts a weekly traditional Irish music session at The Cobblestone, Smithfield, Dublin. This album is such a pub (or kitchen) session, rough and ready, featuring the specific repertoire of O’Grady. The very start is a medley of not-too-often played jigs that can be found in O'Neill's collection, "Jerry's Beaver Hat" and "Have A Drink On Me". I always love to find music way off the beaten track: Tony O'Sullivan's "Marian Egan’s Reel", Tom Redican's "Corrie Hellie" (he probably picked them up in England), "Willie Duffy’s Mazurka," to name just a few. Mick is also the featured vocalist on two emigration ballads, "Leaving Mayo" and "Castlebar" (both unknown to me), and introducing Liam Kennedy on fiddle/banjo and Pat Goode on guitar on Woody Guthrie's "Philadelphia Lawyer".
© Walkin' T:-)M


Kate Rusby "20" [2 CDs]
Pure Records, 2012

www.katerusby.com

Yorkshire singer Kate Rusby[17][20][26][35][44] is in the music business for twenty years. The anniversary is celebrated with a double album, featuring a selection of twenty new recordings of Kate's favourite songs (nineteen classics as well as a fine new song called "Sun Grazers," revealing her songwriting talents). It is a reinterpretation of her hits such as "Awkward Annie", "Planets", "Who Will Sing me Lullabies", "Annan Waters", ... Kate invited a supporting guest vocalist for each track, including some of her own heroes like Dick Gaughan[36] and Nic Jones.[40] From Britain there is Richard Thompson,[50] Jim Causley,[45] and Bob Fox,[27] from the US Chris Thile[49] and Jerry Douglas,[49] and, last but not least, from Ireland Paul Brady[48] and Kate's husband Damien O'Kane[47] (who plays guitar in her band). This list sounds impressive and it certainly is, however, the party just adds colour and some casual touches. In the very centre are Kate Rusby's smooth vocals, and a collection of stirring songs that will stand the test of time for another twenty years.
© Walkin' T:-)M


James Findlay "Another Day Another Story"
Fellside Recordings, 2012

www.jamesfindlay.co.uk

James Findlay was the winner of the BBC Radio 2's Young Folk Awards in 2010. After his debut album "Sport and Play"[46] he started playing the folk club and festival circuit, and recently had a part in a film about the life of the Victorian poet and novelist Thomas Hardy. "Rosebuds in June" is a familiar song, linked to Hardy’s novel "Under the Greenwood Tree".
The song selection on his second album "Another Day Another Story" features mostly traditionals, often linked to the West Country where James comes from. The album starts with the 19th century sea shanty "Rounding Of The Horn", followed by songs taken from the Penguin Book of English Folk Songs,[49] and songs collected by Cecil Sharpe, Francis Child or Peter Kennedy (Roud and Child numbers are given in the booklet). "Henry Martin", "The Cuckoo", "Geordie", "Death and the Lady" are popular and often played ditties, while "The Ox Plough Song" and "The Victory" (an unusally realistic song about the Battle of Trafalgar), John Connolly's fishing song "The Trawling Trade" and Colin Wilkie's "Down In Your Mine" are less heard of. The album displays a mature singer beyond James's tender age. There's power and a cerain roughness in it, Dick Gaughan could be envious about it. James keeps it simple, singing unaccompanied on a couple of songs and accompanying himself on guitar on others. Support comes from the occasional harmony vocals of Beth Orrell and Linda Adams, as well as Alex Cumming on accordion. Well done, lad!
© Walkin' T:-)M


Kathleen MacInnes "Cille Bhrìde - Kilbride"
Own label, 2012

www.kathleenmacinnes.com

Tha fuaim bhog bhinn na Gaidhlig a' dùsgadh feadh nan slèibhtean, tha glòr aoibhinn uasal a' crònan na ar cluasan, nas binne na an cuachan, no ceilear binn gun smal ... The sweet sound of Gaelic wakes from its slumber, the beautiful language is heard once more, sweeter than wealth or the finest of wine ... Kathleen MacInnes is an actress and singer from South Uist, Outer Hebrides, nowadays living in Glasgow. She primarily sings in Scottish Gaelic, and guested on albums of Iain MacDonald and Iain MacFarlane,[24] Julie Fowlis,[34] Griogair Labhruidh,[36] and Seudan[46] in recent years. In 2010, she also appeared on the soundtrack of the Ridley Scott film "Robin Hood". "Cille Bhrìde - Kilbride" is Kathleen's second solo album after 2006's "Òg-Mhadainn Shamhraidh" (Summer Dawn). (Cill Bhrìde means Church of Saint Bride, the saint who gave her name to the Hebrides, and the name of the township in South Uist where Kathleen's mum came from; she passed away in early 2012 and is pictured on the CD cover.)
Besides the old nursery song "Gur Milis Mòrag" (Sweet is Morag), which I heard from Margaret Bennett,[36] all songs are unknown to me. They are mainly traditional and deeply rooted in the Gaelic culture. There is a sea shanty ceilidh song by Alasdair Ruairidh Lachluinn, "Horo Ilean" (Horo, Boys), a waulking song (featuring American banjo player Béla Fleck), the usual selection of love songs, a retelling of the story of Bonny Prince Charlie and Flora McDonald, "Òran a’ Phrionnsa" (Song for the Prince), and a Gaelic prayer, "A’ Ghrian" (The Sun), put to music by Irish piper Shaun Davey. The album sleeve is bilingual, Gaelic and English. Kathleen has an affectionate and soothing voice, most effective on the a cappella song "Comunn Uibhist ’s Bharraigh" (Sing It With Joy), where Cathy Ann McPhee and Sinead MacIntyre join in close harmony singing. It also has a message: if you're leaving South Uist, do not forget the native language! The tracks are sensibly backed up - with the vocals always in the centre - by an array of well-known artists, to mention just a few names: Lyon,[32] McCusker,[26] McGoldrick,[31] Shaw,[36] Stevenson[45] ...
© Walkin' T:-)M


Chumbawamba "Going, Gone" [DVD Video]
No Masters/Westpark Music, 2012

www.chumba.com

This is the end. Halloween Night at City Varieties in Leeds is celebrating the recent departed, those who struggled through three decades, survived even Thatcher and Blair, but eventually gave in: Chumbawamba, Britain's theatrical anarcho-punk band.[49] The last show featured Chumba's latest line-up, including Jude Abbott (trumpet, being a Chumba since 1996), Neil Ferguson (guitar, 1999), Phil Moody (accordion, 2007), Lou Watts (guitar, 1982), Boff Whalley (guitar, 1982), plus support such as ex founding member Danbert Nobacon,[35] as well as Belinda O'Hooley and Heidi Tidow,[49] Ray Hearne,[42] and many more. During a musical career spanning three decades they moved from punk and pop to folk music, never betraying their anarchist politics .[32][33][35][42] That Halloween night in Leeds featured songs about internet friendships, homophobia and fascism, the torture-loving Metallica singer James Hetfield, the union activist Joe Hill, the Chilean dictator Pinochet, their one-and-only chart hit "Tubthumping" (1997: UK #2, US #6), Mike Waterson's feminist hymn "Stitch in Time," the traditional, still relevant "Song on the Times," and eventually the Italian partisan song "Bella Ciao".
Well, ciao. That was it. Their swan song, it was fun, it was great. Fare thee well, we'll never forget you!!
© Walkin' T:-)M


Djønne & Børsheim "Toras Dans"
Fivreld, 2012

www.djonno.no
www.annlaugborsheim.no

Rannveig Djønne hails from Hardanger in the west of Norway, an area known for being a stronghold of traditional Norwegian music. She is an inventive and original singer and button accordionist, and has twice been a Norwegian champion on her instrument. Annlaug Børsheim is a fiddler, guitarist and singer-songwriter, from Hardanger as well. Besides Nordic music she always was bewitched by Celtic sounds, and a Scandinavian-Scottish crossover shows on her solo album "November".[46]
Rannveig and Annlaug are playing together since 2007 and they blended their individual repertoires and styles into a delicate mixture of traditional music from the west coast of Norway and original compositions, the latter bearing elements from both roots and pop/rock music. The result, "Toras Dans - Populærmusikk frå Hardanger," features songs written by Annlaug, such as the delicate opener "Dans" put to a reinlender rhythm: dans meg opp dans meg ned, dans meg opp og ned i fred ... Well, the meaning is quite clear, though unfortunatly there are no English translations of the Norwegian lyrics in the booklet. Other songs are lyrically not that accessible (the music is though). The bleak, yet hopeful "Desember" and two other texts are from the pen of poet Per Olav Kaldestad, set to music by Rannveig and Annlaug. The instrumental music includes original music, inspired both by the Norwegian fjords and the Shetland Islands, and the Shetland reel "Da Lounge Bar" (as recorded by Sarah-Jane Summers).[37] Overall it is a grand listening, and thus it made it onto my list of Favourite Albums of 2012.
© Walkin' T:-)M


Socks in the Frying Pan "Socks in the Frying Pan"
Own label, 2012

www.socksinthefryingpan.com

Socks in the Frying Pan - where did they come up with a band name like this? Seemingly it is the title of a tune on Shane Hayes's solo album "Small Towns in Built-up Areas" a couple of years ago. Well, good choice as the name of an Irish outfit with a rather eclectic, sometimes weird attitude towards traditional music. This young trio from Co. Clare in the west of Ireland is made up of brothers Shane and Fiachra Hayes on accordion and fiddle/banjo, respectively, plus Aodán Coyne on guitar and vocals. The Socks have played all of Clare, Galway and Limerick for half a decade, and are now set for higher things. They wrap traditional Irish tunes in modern garments and spice them up with driving grooves. The seven instrumental tracks (including three tunes written by Shane) feature popular reels such as the "Silver Spear" and "Bird in the Bush", as well as saucy stuff such as "Pachelbel's Frolics", "John Brosnan's Polka" and "Gillian's Waltz". Five tracks are songs, with Aodán being a striking vocalist. The first one is a take on Tilston's Jesse James ballad "Slip Jigs & Reels," an easy-listening version with three-part harmonies. Though they always manage to build in twists and turns into their versions of the Irish "Bonny Light Horseman" and the Pogues' "Lullaby of London," the trad American "Shady Grove" and Tim O’Brien's "Foreign Lander." The Grande Finale "The Track for the Craic" is a rendition of the popular "Music for a Found Harmonium," performed by The Odd Socks ft. Brian O’Loughlin (flute), Keith O’Loughlin (banjo), Andrew Kenny (uilleann pipes), Ger Coughlan (harp), Jack Talty (piano) and Michael Donnellan (dancing).
© Walkin' T:-)M


John Cronin & Daithí Kearney "Midleton Rare"
Own label, 2012

daithik@gmail.com

Midleton Very Rare is a blended Irish whiskey, produced in the East Cork town of Midleton, considered by many to be one of the finest of Irish blends in particular and among the finest Irish whiskeys in general. The album booklet states that traditional Irish music is rather a rare thing in East Cork. For the past few years though, accordionist John Cronin and banjo player Daithí Kearney are hosting a regular Irish music session in Wallis’ Bar in Midleton on Tuesday nights.
Both artists have been influenced by their musical parents and their upbringing in Newmarket and Tralee, respectively. The album is focussed on the particular music of the Sliabh Luachra region, the border area between counties Cork and Kerry. It especially features music sourced from John’s father DD Cronin (1917-90), a fiddle player from Glenamuckla, Newmarket, who had been exposed to fiddlers such as the legendary Pádraig O'Keefe, Julia Clifford, and others, who used to come to the Cronin house. "Cronin's Hornpipe" is a much loved piece of music.[30][31][40][43][46][49] Sliabh Luachra means polkas and slides inbetween the jigs and reels and hornpipes. A couple of waltzes, "Far Away in Australia" and Rodney Miller's "Bluemont," are a pleasing intermission in the midth of the album. It is pure traditional Irish music, as old as the hills, stripped and laid back. Only occasionally banjo and accordion are supported by fiddle (Imelda McCarthy), flute (Louise Keating), pipes (Shane Keating), bouzouki (Mike Cummins) and bodhrán (Barry Barret).
Midleton rare, indeed! Sláinte! Sample it from CD Baby, Claddagh Records or other outlets that deal in the pure drop!
© Walkin' T:-)M


Faustus "Broken Down Gentlemen"
Navigator Records, 2013

www.faustusband.com

After a break of two years, the Faustus trio (formerly quartet Dr Faustus)[28] - consisting of Benji Kirkpatrick (bouzouki and guitar; Bellowhead, Seth Lakeman Band), Saul Rose (melodeon; Waterson:Carthy, Whapweasel) and Paul Sartin (fiddle, cor anglais and oboe; Bellowhead, Belshazzar's Feast)[40] - is at it again. Faustus is a quieter, less rowdy-dowdy version of the nu-folk orchestra Bellowhead.[49] At least a wee bit, though only a trio they are able to deliver a powerful performance with tight and fanciful arrangements of rootsy English songs. The list includes less known folk songs such as the title track "Broken Down Gentlemen," more popular ditties such as "American Stranger" and "Prentice Boy" (Peter Bellamy did this, for example),[38] and classic British ballads such as "Banks of the Nile". Thanks for the comeback!!
© Walkin' T:-)M


All Folk'd Up "All Folk'd Up"
Own label, 2012

www.allfolkdup.com

The track list doesn't read very encouraging: "The Mermaid", "The Star of the County Down", "Leaving of Liverpool", "Hot Asphalt," ... But every once in a while a band comes round that plays these timeless classics as if they weren't played for the humptieth time and murdered by hundreds of would-be folk artists. All Folk'd Up makes them sound good again. First of all, the band features Pauric Mohan on banjo, guitar and mandolin. Pauric, who has performed with Derek Warfield & the Young Wolfe Tones,[49] has developed a particular banjo style, blending Irish with American ways. There also is John Cunningham on flute and whistles and Luke Ward on bouzouki, guitar and bass, the latter also an ex Young Wolfe Tone. The overall sound is deeply rooted in traditional Irish music, though the trio also have a go at Bob Dylan's "Wagon Wheel" (in the Old Crow Medicine Show version), Tim O'Brien's "I’ve Endured" and Flogging Molly's "If I Ever Leave This World Alive". Back to Ireland, there also is a gorgeous folk rock version of the well-known Irish folk song "Spancil Hill," featuring Conor McAloon on electric guitar and Ronnie O Flynn on drums.
© Walkin' T:-)M


The Outside Track "Flash Company"
Lorimer Records, 2012

www.theoutsidetrack.com

The Outside Track have become a success story on both sides of the Atlantic. Over here in Germany they made it from supporting Altan at the 2011 Irish Folk Festival tour[47] to being headliner in 2013. Album #3 continues where the self-titled debut album[34] and its follow-up "Curious Things Given Wings"[42] broke off: a Pan-Celtic sound drawing on the band members' origins from Canada, Ireland and Scotland. Norah Rendell (flute), Mairi Rankin (fiddle), Fiona Black (accordion), Ailie Robertson (harp) and Cillian Ó'Dálaigh (guitar) are kicking off with a lively rendition of the Child ballad "False Knight on the Road," sung by Norah and you can hear clearly why being Vocalist of the Year at the Live Ireland Music Awards 2012. Further songs include the traditional English "Flash Company" (popularized by June Tabor and Norma Waterson), "The Hawk and the Crow", "The Whitby Maid" and "The Mountain Road" (from Sam Henry's "Songs of the People"). "Inisvaddy Annie" is a poem about teenage pregnancy from Helen Cruikshank (1886-1975), set to music by Padraigin Ni Uallachain,[47] which I've heard sung by Peter McCune.[32] Some instrumental tune sets are thrown in for good measure: Quebecois tunes - according to the group the perfect addition to Cape Breton and Old World styles - mingle with Scottish strathspeys and Irish jigs. Les Tireux d'Roches'[50] Mario Giroux composed the "Reel de La Fesse Crampee," Eric Favreau the jig "6/8 de Petit Sarny". "Fishcakes" has been written by Daniel Lapp, followed by the band's harpist Ailie Robertson's "Brandy"; the brandy being a tune type which is quite unique to Quebec.
© Walkin' T:-)M


Aintzina "Kosinatik kanberala"
Aztarna, 2012

The Basque country in the north of the Iberian peninsula is populated by an ancient linguistic and cultural minority of whose origins very little is known. During the Franco regime speaking the language had been prohibited, so had been playing traditional Basque music. Fortunatly, these dark days are over. Aintzina, which obviously means something like originally, is a rather new Basque band with the goal of uncovering and preserving the folk heritage and popularizing it for a contemporary audience. Aintzina's line-up is Zigor Sagarna (vocals, bass, pandero), Juanjo Otxandorena (bouzouki), Arkaitz Miner (fiddle, mandolin, foot percussion) and Alan Griffin (wind instruments, including the ancient clarinet-like alboka[45]). All band members have long been involved in Basque folk music, playing in bands such as Alboka[31] and Xarnege[42] or recording with artists such as Olatz Zugasti[13][24][41] and even Hungarian singer Márta Sebestyén.[42]
Aintzina's music on their second album "Kosinatik kanberala" sits nicely between Galicia, Occitania and northern Italy. There are both old traditional ballads about frustrated and deceived lovers, lust and murder (the booklet includes the song lyrics in Basque with brief Spanish and English explanations), and recently composed instrumental pieces from Alan Griffin inspired by traditional Basque music. It is a nice selection. The arrangements sound familiar and oftentimes vaguely Celtic. I'm particularly reminded of Andy Irvine (probably thanks to the perpetual presence of the bouzouki). I haven't been familiar with Basque music yet, probably never heard it all, but it doesn't sound alien to me and makes me longing for more. Aintzina might put the Basque country back onto the musical map, especially if deciding to tour abroad.
© Walkin' T:-)M


Dave Townsend & Gill Redmond "New Road to Alston"
Wild Goose, 2012

www.myspace.com/davetownsend
www.myspace.com/gillredmond

Doug Bailey's WildGoose label treasures traditional English music. Perhaps nothing is more English than the English concertina, and nothing is more exotic than the combination of concertina and cello. So Dave Townsend and Gill Redmond can be considered an English counterpart to the fiddle-cello duo of Alasdair Fraser and Natalie Haas.[45] Dave and Gill explore all possibilities that lie in the combination of their instruments, and their ensemble playing and interaction is full of rich details and different shadings. Their instrumental dance music, such as the title track "New Road to Alston," is from the past two or three hundred years (Macadam built a road from Penrith to Alston, Cumberland in the early 19th century). It is a tune I heard less sparsely and intimately played, but lavishly embellished by the English dance orchestra Blowzabella.[34] I will not speculate about the origins of a tune title such as "Whip Her and Gird Her" though it sounds like an interesting story. I'm particularly fond of the triple time hornpipes and the variations on the well-known Scottish tune "Hey, Johnny Cope". There are melodies from Wales, as well as a Swedish Schottis and an Engelska and a set of Shaker tunes. Ballads include "The Captain’s Apprentice" and the well-known "Banks of the Nile" (both recorded by English band Faustus too, see review above) and less familiar songs such as "The Lousy Tailor" and "Rolling in the Dew".
© Walkin' T:-)M


Sketch "Shed Life"
Skye Records, 2012

www.totalsketch.com

Sketch have put together something special here: good time music, no holds barred, in a firmly Highland style, yet totally contemporary. The core quintet comprises pipes and fiddle, guitar and percussion, with vocals from Maeve Mackinnon, augmented by several guests and various electronic weirdnesses. Names such as Alyth McCormack, Martyn Bennett, Paul Mounsey, Keltik Elektrik, and of course the Peatbog Faeries spring to mind.
Ten varied tracks take us from an almost documentary collage of '50s radio and Galician piping, through thumping dance tunes in Chilli Pipers vein, to hauntingly beautiful vocals. It's impossible to pick favourites: every piece has its own appeal, the adrenalin rush of Oidhche Boogie or the cool vibes of The Earthship, ceilidh capers on ShedmauS or bagpipe berserkers on Fire Them Up. Definitely one of the best Scottish albums of 2012 - check out www.totalsketch.com for a preview.
© Alex Monaghan


Kayna "The Bootleg"
Own label, 2012

www.kaynamusic.com

A box-player, a singer and a pianist - Kayna are a might trio, and their debut CD is one of the best to come my way in a long time. Liam O'Sullivan on button box plays a scintillating variety of tunes, and can also twinkle pleasingly behind the songs. Anthony Davis tinkles too, but his keyboards can vamp and wail when required. Steven Byrnes employs his guitar on the instrumental sets, and at times the lads are joined by a couple of friends. This is great dance music, party music even, more fun than a fire in Foley's.
I'm not much of a one for singers, but I'll make an exception for Steven Byrnes. The way he slides around the melody makes for compulsive listening. His four songs are expertly arranged and backed by the boys, with plenty of light and shade: in other words, it's pretty good stuff. Still, the six instrumental tracks are my favourites. There's a fine mix of fast and slow, new and old, great dexterity and flexibility on the accordion, and some inspired playing from Damien O'Kane. I'll definitely be looking to catch these guys live.
© Alex Monaghan


Jenna Reid "Morning Moon"
Own Label, 2012

www.jennaandbethanyreid.co.uk

Just another pretty young Shetland fiddler? Well, no. Not only is Jenna Reid a superb Shetland fiddler, and a fine singer too: she also makes a great job of Scottish and Stateside styles. Jenna defines her sound on a broad canvas. There are elements of the Shetland swing and double-stopping, plenty of brash American showmanship, and a big influence from neighbouring Ireland and Scandinavia, but the main ingredient is Jenna's own personality and passion.
I loved the unusual twists and turns of Goran Berg's, the raw power of One For Us with more of those American overtones. Jenna also sings one song, the Dougie MacLean fiddle-friendly ballad Not Lie Down, and she makes a great job of it. Unusually for a traditional fiddle CD, most of the tracks focus on a single tune: the variety comes from Jenna''s interpretation, and from her fabulous accompanists. The ensemble sound is rich and strong, but for some reason I prefer the tracks where Jenna is almost on her own. My absolute favourite is The Greenside, Jenna's own charming waltz. This album really is a stunner.
© Alex Monaghan


Damien Mullane "13"
Own Label, 2012

www.damienmullane.com

London box player Damien moved to Dingle a couple of years ago, and his collaboration with producer Donogh Hennessy has resulted in a really classy recording. Damien's style is tight and rhythmic, lending itself to Munster dance music, but he also has the soul and control for slower pieces. His playing reminds me of Conor Keane, Christy Leahy, even Jackie Daly. There's a lot going on in his left hand too, which is nice to hear: imaginative chords and bass runs on the accordion complement the sensitive guitar from Donogh. Keyboards, strings, banjo, drum and bass add to Damien's performance, but the button box is always in the driving seat.
Damien has a great choice of material. There's no lack of variety on 13, with marches, hornpipes, and even a slide/waltz/reel medley which works perfectly. Damien is a bit of a tunesmith too, writing four of the pieces here, including two very different waltzes. Indeed there are no fewer than four waltzes in total on this CD, but that's just to balance the drive and energy of the faster tracks. From Feehan's Jig to the final Cajun waltz, 13 is full of innovation and great music.
© Alex Monaghan


James Thomson & Chris Waite "Borders Young Pipers"
Borders Traditions, 2012

James Thomson and Chris Waite play the conical-bored bellows-blown pipe with a sound quite similar to highland pipes. Both also play a set or two on the straight-bored smallpipes, and in addition Waite whistles while Thomson flutes. Chris and James are joined by Marc Duff on whistles, Stewart Hardy on fiddles, Angus Lyon on keys, and Stevie Lawrence on various instruments. There are six piping tracks from each player, and one flute track from Thomson, making a very varied album.
As well as both being Borders pipers and playing a mainly Borders repertoire, there's a shared drive and energy in their piping. Waite's storming modern style was apparent on the 2007 Borders Pipes CD, and is equally obvious here. Thomson matches him in this respect, so there isn't a dull track on this recording. Classic Border tunes Go to Berwick Johnny and Morpeth Lasses are joined by familiar faces from the Scottish mainstream, and even an Irish visitor or two. It's not all about pace and power: Thomson and Waite can be delicate and subtle too. This is a fine debut, and a promise of much more to come.
© Alex Monaghan


Mary Jane Lamond & Wendy MacIsaac "Seinn"
Own Label, 2012

www.maryjaneandwendy.com

A Cape Breton singer and fiddler duo could be either totally traditional or coolly contemporary. This pair manage both. Mary Jane Lamond is one of the few singers I listen to: she combines a deep understanding of Gaelic song with an energetic and innovative approach which is rare enough even in Canada. She also has a glorious voice, of course. Wendy MacIsaac impressed me with her debut album, fiery and full of celtic spirit: over the years since she has mellowed somewhat, losing the electric guitars and drums, but her fiddle can still stir up the proverbial storm in a tea-dance. Together, Mary Jane and Wendy romp through a repertoire which captures both the culture of Cape Breton and the modern music of their generation. They are aided and abetted by singers from Scotland and Ireland, accompanists from all over, and some well known members of the MacIsaac clan.
Reels and strathspeys, mouth music and mournful songs of unrequited love, slow airs and island anthems: this recording spans the full spectrum of Gaelic music. From the beautiful pure voices on Rinn Mi Còrr is Naoi Mile to the musical melting pot of celtic and country If You Were Mine, Lamond and MacIsaac weave their way confidently through Scottish and Canadian influences. It's tasteful, it's tuneful, and it's also a tantalising glimpse into the evolutionary process which is reinventing celtic music in maritime Canada. Seinn delivers both a faithful representation of Nova Scotian traditions and a new interpretation of that cherished heritage. Take Keeping Up with Calum, a hornpipe or clog dance composed by Wendy in traditional style, kicked firmly into folk-funk territory by her penchant for guitar, bass and drums. Or there's Hoireann O Rathill iù O, a Gaelic song dressed for a night on the town, hot enough to make the mountain mist sizzle. There's plenty more here, songs and instrumentals in equal parts from Lamond and MacIsaac, but you should really hear it for yourself: there are samples at the mailorder sites linked by Wendy and Mary Jane.
© Alex Monaghan


Martin O'Neill "In Session"
Own label, 2012

www.martinoneill.com

Here's a new approach to that elusive winning formula for a drummer's solo CD: one track from each album you've guested on! Martin O'Neill has been around the block a couple of times, on the Scottish and Irish folk scenes and beyond, so In Session gathers together tracks released by Dòchas, Matheu Watson, Julie Fowlis, Fred Morrison, Brolum and others, with Martin's bodhrán as the common factor. Judging from his recent touring schedule, a follow-up album could include tracks with Bela Fleck and Stevie Wonder as well as many names familiar to the trad folk world. Martin O'Neill's debut album joins a blessedly small stack of bodhrán CDs, and like Colm Murphy's great recording its main appeal is that it's not all about the drummer. There's no doubt that Martin is excellent at what he does, and there are a few tracks here where the bodhrán shines as a solo or duet instrument, but the best thing about In Session is that most of the time you can forget that the drum is there at all. It just fits in the mix, filling the gaps that need to be filled, and I can't think of a better compliment to pay to any accompanist. Even in a relatively sparse arrangement, such as the set of slip jigs played by Claire Mann and Aaron Jones, Martin sits in behind the melody line, accentuating the beat and giving a bit of lift elsewhere, but basically complementing rather than controlling the music.
In fact, that seems to be Martin's hallmark: his deft brushstrokes embellish the music, leaving others to provide the drive and thump as required. Even on the brash opening and closing tracks here, with pipes and fiddles giving it laldy, Martin's touches are delicate and precise. It's almost as if this album were simply a well-chosen selection from the best of recent celtic instrumental music. There are three exceptions to this rule which are worth mentioning. The first is a vocal and percussion duet from Julie Fowlis' album Uam, with Martin matching the voice beat for beat, and here he does provide that driving pulse, as well as displaying his world-class technique. The second exception is a track from Neil Yates, a relatively accessible piece of modern jazz by this great trumpeter who produces a gorgeous mellow tone: once again, you wouldn't know Martin was there unless someone told you. Finally, before the big Brolum finsh, Martin includes a song from Dorothee Munyaneza - no, I'd never heard of her either, but she's apparently a quite famous singer from Rwanda, and she sings in a traditional East African style with plenty of percussion, some of which is Martin's bodhrán. So, a couple of songs and a couple of non-celtic tracks, adding spice and variety to a great selection of traditional music which happens to feature Martin O'Neill's very accomplished playing: In Session has to be worth a listen.
© Alex Monaghan


Colm Gannon "The Rights of Man"
Own Label, 2012

German CD Review

www.colmgannon.com

American born and bred, now living in Ireland, Colm Gannon was reared on the Irish music of Boston and Chicago. In some ways this has given him a more old-fashioned approach to traditional Irish music, closer to the influences of Coleman, Kimmel, McGann and Derrane, but Colm's button box has also shared the stage with modern masters, and his previous recording with Jesse Smith and John Blake showed the best of old and new Irish music. The Rights of Man is Colm's second solo CD - I never heard his first one, but the music on this album is first rate. I would just comment that this recording is one of a few recent CDs which have obviously been home recorded, and the techniques or equipment used are not quite up to major label standards: the wide availability of good recording software is a great thing, but both the hardware and the wetware still has to be up to the job, which may take some time. The effect on this CD is a slightly echoey sound at times, and some fluctuation in volume levels: nothing serious.
Colm's playing is assured and vibrant, rhythmic without detracting from the melody. He's joined by two of the great accompanists from way back, Alec Finn on bouzouki and Ringo McDonagh on bodhrán, as well as John Blake on guitar and piano. Colm's wife Kelly makes a cameo appearance on three fine reels, her concertina playing enough to explain why Colm would want to Drag Her Round the Roads with him. Reels, jigs, hornpipes and flings keep the tempo high, and there is one languid air which exploits the polyphonic capabilities of the humble button box. Much of Colm's chosen repertoire comes from the early twentieth century, mainly Irish American collections and recordings, and I was pleased to encounter two of my favourite jigs here: Banish Misfortune and Cailleach an Airgid, admittedly in slightly different versions from mine. There's a bit of a vogue for old-fashioned jigs just now: Jerry's Beaver Hat and I Lost My Love have appeared on other recent releases. Colm's choice of title track is another grand old melody, surrounded by the classic reels Cronin's and The Yellow Tinker. Mr Gannon doesn't stint on the hornpipes either: Murphy's, The Cuckoo and Hot Asphalt are all jauntily played, and it's a long time since I've heard The Newcastle Hornpipe on an Irish recording. Colm finishes with Maud Miller and George's White's, another pair of favourites. Plenty to enjoy here, with accompaniment so good it hardly draws any attention, so seek this CD out: but don't try the old website www.smithandgannon.com, which seems to have suffered an attack of The Vapors!
© Alex Monaghan


Oirialla "Oirialla"
Lughnasa Music, 2012

www.oiriallamusic.com

This should be a traditional music fan's dream - Gerry "fiddle" O'Connor, Nuala Kennedy on flute and vocals, accordionist Martin Quinn, and Breton guitarist Gilles Le Bigot. In many ways it is exactly that: great tunes, many of them obscure, and four songs which combine Irish English and Scots Gaelic. The group takes its name from the area between Louth and Armagh, spanning North and South, a traditional haunt of bards and bandits, musicians and marauders, sometimes known as Oriel. Most of Oirialla's music has associations with that region - there are references in the notes to the Northern Fiddler collection, and the Dance Music of Ireland volumes, but also to MFC and OF. I eventually worked out that LD must mean Luke Donellan's collection Dance Music of Oriel: this seems to be a major source for the tunes here. I gather Gerry and others are involved in research projects to interpret and distribute Donellan's material. There are a few modern compositions here too - by P/M Donald MacLeod, Mike Vass, Liz Carroll and Donald Angus Beaton - and Nuala wrote the melody for one song, but the rest is firmly traditional.
From Delvinside to MacLeod of Mull many tunes on this recording would be familiar to Scottish musicians as well as to the Ulster Scots and the Ulster Irish musicans here, but despite a strong Scottish influence this is mainly Irish music. Reels and jigs are the norm, and there are some smashers: McFadden's Own Reel, The Ladies' Pantaloons, Duffy's Reel and the wonderful five-beat jig Cathal Mac Aodha among others. What this album lacks at times is the feeling that these are tunes which the musicians have known for decades, absorbed at sessions and dances. At times the sense is more of a documentary than a dance, a history lesson rather than a local session. This is not the case with Nuala Kennedy's songs: these stand as individual interpretations, and their unfamiliarity in some ways makes them more attractive, but it may be interesting to see how they evolve in Nuala's hands and in the wider community. And for those of you who enjoy a good thrash through some rousing tunes, there are tracks here which oblige, casting aside any hint of more serious projects: the set of McCusker's Jigs and the final medley Through the Heather are prime session recordings, delivered with practised ease and considerable gusto, by some of the best in the business.
© Alex Monaghan


Réalta "Open the Door for Three"
Own Label, 2012

www.realtamusic.com

Looking a little like refugees from Woodstock, this Belfast based band plays music which is far from shabby. They've modelled their style on the Bothy Band, Planxty and other classic Irish traditional groups. With two pipers in the core trio, the repertoire of Keenan and O'Flynn suits Réalta perfectly: but most of the material on Open the Door for Three wasn't recorded by those great '70s outfits. The title track is only one of several slip-jigs here, including Yellow Stockings and the old favourite Drops of Brandy which gets a rollicking double-pipes treatment to finish this recording. Both Conor Lamb and Aaron O'Hagan play whistles as well as pipes, with Aaron adding the auld Irish frame drum. Young Mr O'Hagan is a pipe maker too. At least he's not making bodhráns. The third member of this young trio, Deirdre Galway, plays guitar and sings three songs in a strong clear voice. Deirdre has great pitch and articulation, and the two songs in Irish are delightful, but I felt Gathering Mushrooms could be more expressive.
Maybe it's just the context: there is so much excitement in most of Réalta's music that anything less than a bravura performance stands out. The slower instrumentals Sliabh Geal gCua and Tuamgraney Castle are not neglected either, with virtuoso solo and group performances. One of my favourite tracks is the relaxed version of Martin Wynne's Number 3 and The Crosses of Annagh, grand old reels given space to breathe. It's hard to pick highlights, but Cailleach Rua put me in mind of Joe McKenna's piping at its best, and the lovely change from Jimmy's Return into John Brennan's elicited a whoop of appreciation. The blend of pipes and whistles is artfully done, and the occasional ragged edges on some straight-ahead gallops are part of the charm: when you're this young, and this good, why wouldn't you just drop the head and charge at Tom Busby's Jig or The Galtee Reel? The trio sound is full enough, but Réalta are joined on a couple of tracks by bouzouki man Micky McCluskey and fine fluter Brendan Mulholland for extra breadth and depth. Open the Door for Three is an extremely promising debut, and I look forward to hearing more from these young stars.
© Alex Monaghan


Sprangeen "Sprangeen"
Springthyme, 1984/2012

A prodigious gathering of individual and collective talent, many members of this all-women band have had impressive careers in traditional music since Sprangeen's rousing concerts and ceilidhs in 1980s Edinburgh. Fiddles, harps, concertinas, flutes and whistles, and one of the most diminutive double-bassists around: Sprangeen had a varied sound, even without the occasional comic effects. Their music stretched from the Borders to the Bothies and beyond, with dance-hall reels and jigs, songs in Gaelic and English, slow airs from both sides of the North Channel, and plenty of pipe tunes. Sprangeen specialised in subtle or startling arrangements, and this re-release is a welcome reminder of the creative energy as well as the musical skill which was knocking about the Edinburgh scene in the mid eighties.
Probably the most well-known graduates of Sprangeen are harpists and singers Patsy Seddon and Mary MacMaster. They soon formed the duo Sileas, and were founder members of both The Poozies and Clan Alba. Their singing and harping features strongly on this recording, as does Patsy's fiddling and Mary's little-known mastery of the oriental temple bells. Sprangeen were young enough to experiment, but wise enough to respect the beauty of traditional music. Airs such as The Braes of Lochiel and Miss Sine Flemington are played with beautiful simplicity, while the strathspey version of Ale is Dear and the mouth-music arrangement of Paddy's Leather Britches show the innovation and spark which has characterised Edinburgh's music ever since. The recording quality is of its time in places - small label meets seven-piece band in suboptimal suroundings - but this 1984 album is definitely worth hearing again.
© Alex Monaghan


Summers, Silvola & Kvam "Mala Fama"
NORCD, 2012

www.sarah-janesummers.com

Sarah-Jane Summers, from the shores of Loch Ness, has teamed up with Silvola and Kvam for a very Scandinavian album. Sarah-Jane plays Scottish fiddle, and released a very nice solo debut CD Nesta a few years ago - but she also has a serious interest in the Norwegian Hardanger fiddle, and has been pursuing that in Oslo recently. Guitarist Juhani Silvola and double-bassist Morten Kvam bring divers influences to the trio, from jazz and experimental music, with a shared core of Scandinavian traditions. Although most of the material on Mala Fama was written by these three, there are traditional pieces from Scotland to Finland which Summers, Silvola and Kvam have formed into a new Nordic whole.
Mala Fama includes a few identifiably Scottish pieces, but the overall sound of this trio is definitely based on the Northern European fiddle tradition: dark brooding melodies, gnarled and wind-sculpted rhythms, stark harmonies, and those sympathetic strings of the Hardanger fiddle. This wintry wilderness music is uncompromising, sweeping from the Russian steppes to the icy coast of Nordkapp, and down to include the 3/2 hornpipes of the North Sea. Whilst the tunes are biting, driven like icy shards through exposed skin, their names do reveal a lighter side to this group. The unrelenting Twisty Tune and the more laid-back Walk on Water show an irreverent approach to naming tunes which culminates in the composition Fartsgrense - surely not penned with a straight face. Apparently this is the Norwegian word for "speed limit", and the interesting fiddle effect which sounds like police sirens is not a coincidence. There's no explanation for The Lumberjack, though: I suspect a Monty Python influence. Intriguing and inspiring music, Mala Fama demands serious attention.
© Alex Monaghan


Zoë Conway & John McIntyre
"Go Mairir I Bhfad - Long Life To You"
Tara Music, 2012

German CD Review

www.zoeandjohn.com

Here's an idea. Choose your twelve favourite composers, get them each to write a tune or two for you, then record them all on an album. Seems Zoe and John had this idea a year or so ago, and didn't think it was too crazy - this CD is the result. It's good - better than good - not too surprising given the calibre of the composers. The young fiddle and guitar duo have managed to enlist Liz Carroll, Peadar Ó Riada, Frankie Gavin, Bill Whelan, Mairtin O'Connor, Steve Cooney, Micheál Ó Súilleabháin, Tommy Peoples, Niall Vallely, Andy Irvine, Charlie Lennon and Donal Lunny.. From Planxty to Riverdance, Donegal to Kerry, it's hard to think of anyone they missed. There's a track for each composer, mainly a single melody but one or two medleys, all arranged for fiddle and guitar. Some contributions stray well beyond the bounds of Irish music: Mairtin's Trip to Gort embraces Latin dance and features flamenco-style guitar, while Steve's Capaillín Dubh includes pizzicato runs on the fiddle and a very contemporary melody. Others, like Tommy's two splendid compositions and Frankie's rousing hornpipe and reel, come straight from the heart of the Irish tradition. Mostly the music here is somewhere in between, with many pleasant surprises as the traditionalists spread their wings and the avant garde crew return to their roots. The emphasis is on fiddle music, but there are several opportunities for Mr McIntyre to shine as both soloist and accompanist. Ms Conway is her usual brilliant self, bestriding this musical world with her bow poised: she hardly wavers as Niall, Micheál and Andy drive her through their rhythmic and melodic mazes, and she richly deserves Peadar's musical compliment Ríl Zoe. Not many fiddlers could have pulled this off, and not many guitarists could have kept up. As an addition to Irish music, this album is a triumph: as entertainment, it's a treat indeed.
© Alex Monaghan


Jussi Reijonen "Un"
Own label, 2013

www.jussireijonen.com

You can tell it's jazz because each track goes on for about ten minutes, but much of this music could be traditional African or European in origin. Jussi Reijonen, a Finnish guitarist and oud-player, is joined by several musicians who hail from the fringes of Europe and Africa: Turkish pianist Utar Artun, plus percussionists Tareq Rantisi from Palestine and Sergio Martínez from Spain. I'm not sure what Swedish bass-player Bruno Råberg has done to justify a place in this multi-ethnic mob: maybe he takes his holidays in Eilat, or perhaps his inclusion is based solely on merit. Either way, the ensemble sound is raw and intoxicating, yet subtle too. Reijonen's oud weaves Serpentine out of the air, complex rhythms and Eastern cadences, with Artun's piano making a late entrance to entrance. The complex pun of this debut album title is matched by the sinuously sultry Bayatiful, with big bass notes and percussion behind the guitar-like oud, somewhere between flamenco and falafel. Five of the six pieces here are by Reijonen: the single exception is John Coltrane's cool jazz Naima, probably the gentlest section of this CD. Toumani, almost as gentle, evokes African kora music and is filled with spooky silences and unexpected echoes, almost as if the landscape was changing, moving from traffic to tranquility, from open spaces to stone walls. Nuku Sei is different again, close to Indian styles in its fluid note-bending on fretless guitar, but still Western enough to remind me of Scandinavia, of whale-song even. The final Kaiku continues this mournful Nordic theme, with vocals from young Finnish guest Eva Louhivuori and deep bowed bass alongside the delicate guitar. Yes, it's jazz alright, but that's not all it is. If you want to know more, check out the website. The domain name jussireijonen.com was still available, so that's where these cats are at: photos, samples, and maybe even some explanations of this category-defying music. Well worth a listen.
© Alex Monaghan


Mícheál Healy "Pleckin About"
Own Label, 2012

German CD Review

www.michealhealy.com

A young banjo whippersnapper from Mayo, currently a student in Limerick, Micheál Healy has a stab at everything from waltzes to whirling modern reels, American polkas to Breton gavottes. He's good, very good, mastering pretty much all the traditional tenor banjo tricks: triplets, chords, continuo, double stops, rapid fire and quick reload. Micheál doesn't have the swing or drawl of Gerry O'Connor, but he may have the pace of Brian Kelly: his storming reel sets Rhythm & Rhapsody and La Mata are quick and quirky enough. The gentle air Salt Wedding shows a totally different side of Healy's music, as he switches to mandolin. Jigs on Pleckin' About range from the frenetic opening Arctic Winds to the relatively relaxed Flying Wheelchair with brother Darragh on button box. Three of Micheál's siblings join him for brief spells on this debut CD, adding piano, harp and bodhrán, and guitarist Steve Cooney is an ever-present influence without stealing this young star's thunder. More varied than most traditional banjo albums, with forays into minstrelsy and modern Americana, this album still sticks mostly to the Irish repertoire: Come West Along the Road, Black Pat's, The Green Fields of Woodford taken a little too fast, Give Us a Drink of Water, The Rookery, and even The Galway Bay Hornpipe in swaggering style. Pleckin' About is a great start to what promises to be a very fine musical career. As I always say during the winter months, you can never have too many banjos!
© Alex Monaghan


Ihnze "Voyages de Noz"
Co-Op Breizh, 2012

Twenty years on the road without a razor between them - except for baby-faced box-player Manu Rondin - have given this Breton quintet an authentic hors d'âge appearance and sound. This anniversary release is a mix of remastered tracks from previous albums and some new material. There are noticeable differences across the two decades: you might enjoy working out the chronological order of these recordings: answers on a postcard, please, to www.folkworld.eu. I'm guessing the Irish-influenced Polka and very traditional biniou-bombarde duet Baleu are from earlier sorties, whereas the more polished Hanter-Dro and post-Blowzabella Scottish are more recent.
Most of Ihnze's music is thoroughly Breton, for dancing, but in bite-sized chunks by Fest Noz standards: nothing over five minutes long. With four bombardes and a bagpiper in the group, you'd expect a sound more like a bagad than a folk band - but in fact it's Manu's melodeon which cuts through, holding the whole thing together. As well as some virtuoso box-playing, he puts in solid chords and vamping when required. The other instruments are harder to disentangle, but I noticed some tasty wooden flute on a couple of tracks from Pascal Rossignol. There are four vocal tracks, all with full instrumental backing: one in what I take to be Breton language, and three in French, including one from the recently annexed Breton province of Auvergne. Voyages de Noz ends on a delightful Rondin waltz with stunning recorder/whistle work by Michel Leverrier. Plenty for the Breton enthusiast to enjoy!
© Alex Monaghan


Various Artists "Nights in Shanaglish"
Own Label, 2012

www.nightsinshanaglish.com

In that magical little corner of County Galway south of Gort, between dark Loch Curta and the legendary Shannon motorway, lies the village of Shanaglish. Surrounded by an aura of Irish music - St Anne's, The Wren's Nest - and with its own Garda station in case things get out of hand, this is the perfect place for a session. So thought Paddy Egan, concertina player and one of the driving forces behind this distinctive recording. Guitarist Vincey Keehan introduced Paddy to Shanaglish about ten years ago, and they've been visiting ever since. A few nights of music in Whelan's Bar resulted in a CD, a 90-minute DVD, and a 9-track LP, all with different but overlapping material. The LP has a good old-fashioned fold-out sleeve, proper sleevenotes on the back and a suitably rustic cover drawing of Whelan's. The whole package is very nicely put together, with photos and lyrics and all.
The music is what you'd expect at a local session. Cooley's, Apples in Winter, The Collier's, Cailleach an Airgid and other favourites dominate the dance music, plus a few less common tunes. Concertina and fiddle, banjo and guitar, double bass and drum crack on at a reasonable pace. The songs include unaccompanied ballads, humorous new compositions, and some of Vincey's originals. There's a spot of Sean Nos dancing and lilting, as well as one or two tall stories. A couple of American waltzes bridge the gap between the instrumentals and some Irish-style Country and Western songs: Woody Guthrie and Johnny Cash were an important part of rural Irish culture for many years. In short, there's a bit of everything here, involving the whole community, some barely old enough to drink, others barely drunk enough to sing. There's even a website for online purchasing and other information. Both audio and video have a homespun feel, with occasional rough edges and an acceptable amount of background noise, but this just adds authenticity. For some good music, and an insight into typical local Irish sessions these days, you can't go wrong with Nights in Shanaglish.
© Alex Monaghan



FolkWorld Homepage German Content English Content Editorial & Commentary News & Gossip Letters to the Editors CD & DVD Reviews Book Reviews Folk for Children Folk & Roots Online Guide - Archives & External Links Search FolkWorld Info & Contact


FolkWorld - Home of European Music
FolkWorld Homepage
Layout & Idea of FolkWorld © The Mollis - Editors of FolkWorld