FolkWorld #51 07/2013

CD & DVD Reviews

Balbarda "Danza de Máscaras" [EP]
Own Label, 2011

www.balbarda.com

Danza de Máscarás is a 4-song CD that the Spanish folk band Balbarda started disseminating in 2011, in anticipation of their full album, hopefully to be completed & released in 2013. Balbarda belongs to the generation of folk music bands that emerged in the 1990s in downtown Madrid.[41] Their first CD was ‘La Ruta de los Foramontanos’ (2003), followed in 2007 by ‘La Vía de la Plata’.[39] Their music is self-composed and mainly inspired by the traditions from central Spain, with influences from other places in Europe, Africa,... This time, Balbarda has as guests two accomplished artists that, although not born in Madrid, they have raised this city’s folk music creativity & innovation to some of its highest peaks : the singer from Valladolid Eliseo Parra, and the wind-instruments performer from Granada Javier Paxariño . Balbarda are the solid quintet: Milena Fuentes (5 & 4 strings violin), Javier Monteagudo (12 & 6 strings acoustic guitar, lätmandola, oud, hurdy-gurdy, jew’s harp), José Luis Escribano (cajón, darbuka, frame drums, riq, square frame drum from Peñaparda, cymbals), Darío Palomo (bass clarinet), and Xurxo Ordoñez (gaita de fole / bagpipes, gaita charra / 3 holed flute, flutes, drum). The four songs in this promotional CD are a very promising sample of what is yet to come : music inspired by the traditional rhythms & melodies (mostly from central Spain), with the personal style of Balbarda . ‘Pasacalles al Alba’ is based on the long Spanish tradition of the passacaglia (street walking musicians) with origin dated back in the 17th century. Here the bass clarinet, the mandola and the percussion, introduce the prelude of the song that is then developed by the fiddle closely followed by the gaita de fole, which finally provides an imprint of the style of melodies used in the alboradas, the tunes played at dawn announcing the start of village feasts in NW Spain (Galicia, Asturias, Castilla y León,...). ‘Danza Procesional’ commences as a shadowy tune, with a 5/8 syncopated beat (typical in the traditional Castilian corridos) that progressively evolves into an outburst of melodic flow through the sax of Xavier Paxariño. The sadness in the lyrics and the melody of ‘Llora una morena’, is delightfully conveyed by Eliseo Parra. The fourth one ‘Piedrahita 2.0’, is a lively dance rhythm with a melody thriven by the violin, the guitar and the flute towards a Southern Spanish savour, while the darbuka percussion shades the song with a North African appeal. The whole set is a mouth watering tapas appetizer, which just makes us wish that the main plate is served without further delay.
© Pío Fernández


Ethnos Atramo "Ethnos Atramo"
Several Records, 2013

www.ethnosatramo.com

Ethnos Atramo are two artists located in the inspiring medieval city of Toledo (central Spain): Pepa G. Lillo (voice, rebec, percussions: tambourine, darbuka, bohdran, bendir,...), and Gabriel Navalón (keyborads, psaltery, Tibetan singing bowls,....). After several musical experiences (new age, ‘Celtic’, pop, rock,...), Pepa & Gabriel started their latest project back in 2007, as a fusion of traditional tunes and beats from a broad diversity of places, together with modern sounds processed by the electronic & digital technologies. This first album is a travel across the ancient music landscapes of the Medieval, Mediterranean & North-Eastern sides of Europe. There are Andalusí style sonorities, the ones from the North African peoples who lived in Spain since 711, until they were forced to leave the peninsula in the 17th century. There are songs inspired by the music of the Jewish peoples both Ashkenazi (Eastern-Central-North European) & Sephardic (the Spanish-Portuguese-Jewish diaspora along the Mediterranean coasts). There are also traditional sounds from Greece, Armenia, Serbia, from the Roma people (Gypsies from Eastern Europe), and even from France & Sweden. The melodies from the Middle Ages & the Renaissance come from authors & sources such as: Juan de la Enzina (León, 1468-1529), Martín Codax (Vigo?, 13th – 14th centuries), Thoinot Arbeau (Dijon, 1519-1595), Codex Calixtinus (written in the 12th century). Besides a good variety of traditional percussions, they also play string instruments such as the rabel (rebec) and the salterio (psaltery), built in the North Spanish community of Cantabria by Luis Antolín (RMLuthier). Their music truly succeeds on widening the suggestive capabilities of these ancient sonorities. A good example of this is the song ‘Las promesas de Jano’, a whole new modern tune developed around the traditional Serbian ‘Adje Jano’. There is also ‘Portico de sal’, based on a liturgical musical piece contained in the 12th century book Codex Calixtinus kept (not so sure for how long...) in the cathedral of Santiago de Compostela (Galicia, NW Spain). Bell sounds, synthesized keyboards and drum set, provide a smooth prelude for Pepa’s gifted voice singing the ancient lines in Latin, with echoes that stimulate your imagination and relocate you in a regular rainy night in front of Santiago’s cathedral. ‘Norteños’ is inspired by a Swedish song, that is here introduced with tinkling percussions and sophisticated electronic keyboards, but also with some phrases played with the rabel (rebec). The primitive sound of its bowed strings evocates the one of the Nordic fiddles or nyckelharpas . ‘Introvadorías’ or ‘La gacela y el pastor’ take you back to the days of the medieval poetry of the Arabs & Berbers settled in central and southern Spain. An album to be carefully listened to in a calm atmosphere. Maybe while enjoying some Touareg mint tea, looking at the sunset of a red hot summer day, or while drinking some cold glasses of vodka in a pale blue winter afternoon.
© Pío Fernández


Xosé Manuel Budiño "Sotaque"
Fol Musica/BOA, 2013

German CD Review

www.xosemanuelbudino.com

Since at least 1997, more or less at the same time that Carlos Núñez was getting close to the peak of his popularity in Spain and abroad, we also started to hear about the great talent (both playing & writing of songs) of another Galician bagpiper.[15] Xosé Manuel Budiño comes from the town of Moaña (province of Pontevedra, Galicia, NW Spain), and he is back with a new CD named ‘Sotaque’, a Galician word meaning ‘accent’, ‘pronunciation’ peculiar from a certain person, region or country. Budiño’s debut album was ‘Paralaia’ published in 1998, which had guest artists as prominent as the fiddler Jacky Molard & the guitarist Soïg Siberil (both from French Brittany), as well as the singer Merecedes Peón (Galicia) and the diatonic accordionist Kepa Junquera (Basque Country).[9] Then he released: ‘Arredor’ (2000, with Capercaillie’s Donald Shaw as co-producer [18], ‘Zume de Terra’ (2004, with Jacky Molard, Capercaillie, Xulio Pereira, Sara Tavares & Lilian Vieira),[29] ‘Home’ (2007) and ‘Volta’ (2010).[45] In Sotaque, the sonorities and the style in the different songs follow the personal trend that Xosé Manuel has progressively developed along his more than fifteen years career. This is also a trend that keeps increasing the inspiration coming from the Galician traditional instruments and rhythms. In earlier CDs, you could hear several great slow & quicker tunes where he played the uilleann pipes and the whistles, and having melodies and rhythms that sometimes could not be easily categorized as clearly Galician or Irish. They were probably a sort of fusion. In Sotaque, he only plays the Galician gaita pipes in all kind kinds of tunings, and also recorders and whistles. The song ‘Nubeiros e Tronantes’ is a fast jig with strong Galician traditional percussions. The jota ‘Riamonte’ is almost entirely performed by the male vocal & tambourine playing group Cantareiros de O Fiadeiro, and it is done in the purely traditional Galician style, with some passages with Budiño’s gaita towards the end of the song. The tune ‘Sotaque’ is an energetic muiñeira where Budiño displays his characteristic virtuosity on the composition & the playing of the gaita. But there are still a few distinctive influences from the world of ‘Celtic’ music. The participation of the flutist Michael McGoldrick in this song ‘Sotaque’ is one of them. Others can be perceived by the use of the low whistles in ‘Danza das Bateas’, ‘Chal Indiano’ or the beautiful slow tune ‘Soños’. And then there are the set of songs that are mainly supported by the gaita and the whistles, but their beat, percussions and synthesized sounds look for a closer connection with modern dance music or even rap: ‘Serán de Maias’, ‘Bica na Baiúca’ or ‘Hoxe canto en Libertá’ with the voice of the actor Luis Tosar. Not to forget the voice of the Portuguese Antonio Zambujo in the jazzy tune ‘Déixame adiviñar’, with piano, fiddle and Budiño’s low whistle. His band in Sotaque are: Carlos Castro (Galician drums, frame drums & percussions), Chisco (voice, Galician pandeireta/tambourine, frame drum/pandeiro, shells, castagnets), Alfonso Merino (violin, viola, bouzouki, guitar), Juan de Dios Martín (bass guitar) and Paulo Borges (piano, synthesizer, bass guitar). ‘Sotaque’ is a truly enjoyable album displaying Budiño’s broad creativity & distinctive personality, fresh, elegant & talented as on his first recordings, as we could also verify in his May 2013 concert in Madrid’s club Galileo Galilei.
© Pío Fernández


Radio Cos "Radio Cos"
Fol Musica/BOA, 2013

The Spanish label Fol Musica keeps taking the lead on the sponsoring & promoting talents of Galician traditional & folk music. Now in the first mid of 2013, they launch their 6th record of the well known bagpiper Xosé-Manuel Budiño named ‘Sotaque’ (see above), and also this album from the band Radio Cos. This is basically a duo of singers & percussionists that have been performing for the past nine years, and playing their traditional rhythms & melodies from Galicia (NW Spain) in places such as Belgium, England, Scotland or French Brittany. Quique Peón (the brother of the singer Mercedes Peón) and Xurxo Fernández sing their fourteen traditional Galician tunes while playing their pandeiretas (Galician tambourines), pandeiros (frame drums), bombos (bass drums), latas (large tin cans), and a number of other percussions & utensils (such as the sacho: hoe). The other musicians playing with Quique & Xurxo are: Pedro Lamas (Galician gaita, sax, dulzaina, snare drum, bass drum,...), Nikolay Velikov (violín), and Xan Pampín (accordion), plus up to 7 singers and a percussionist (Xosé Lois Romero: bass drum, bones). The gaiteiro (bagpiper) Pedro Lamas is also the technical producer of this CD. But Quique Peón and Xurxo Fernández are no newcomers in the world of Galician traditional music. For the past thirty years, they have been consistently performing ethnological research work in towns and villages all over the Galician country (close to 3 million inhabitants on almost 30,000 square Km). Now in 2013, they present this CD with 14 songs most of them compiled in their extensive field work activities. The rhythms that they play are: alalá, muiñeira (Galician jig), vals, rumba, xota,.... A few of them are already quite popular tunes such as ‘Ven bailar Carmiña’, that in this version makes a successful fusion with the Eastern European style violin played by Nikolay Velikov (also playing in the Galician classical music ensemble Real Filarmonía). ‘A voda búlgara’ (The Bulgarian wedding’) is a kind of side street in the album. Xurxo Fernández starts the song in Ladino (the ancient Spanish language of the Sephardic Jews), and the music then evolves into a recognizable traditional Balkan rhythm, as a reference to the Jewish communities settled in the territories of the Ottoman Empire after their expulsion from Spain in 1492. ‘De Madrí a Queimadelos’ is an interesting fusion where the basic tune is a Castilian traditional rhythm (probably from Estremera de Tajo, SE Madrid), and Pedro Lamas even plays the dulzaina that is typical in central Spain, although the lyrics are in Galician language. The CD booklet should have contained information about the specific origin of the different songs, even more when they also include some phrases and background sounds probably recorded by Quique and Xurxo in their interviews to veteran peoples in certain Galician villages. Besides its documentary value, this first album from Radio Cos is a very amusing work full of lively songs (very suitable for a folk dance gathering), and with superb singing and instrument playing. Let’s not forget the pictures in the booklet, showing colorful views that capture funny merges of the Galician landscape: just on the frontier that overlaps the rural and the urban worlds.
© Pío Fernández


Sés "Co Xenio Destrozado"
Fol Musica/BOA, 2013

www.coxeniodestrozado.com

Music from Galicia, although not really Galician trad music . María-Xosé Silvar (a.k.a. Sés) is a strong and charismatic young singer that now presents her CD with 12 self-written songs, full of rhythm & blues, rock & roll, country and traditional rhythms from South America. A strong female voice and three great musicians: Tito Calviño (guitars), Marcos Pazo (drums), and Fran Sánz (bass). They achieve a colorful combination of energetic tunes, talented guitar playing, and thoughtful lyrics (in Galician). The whole record is an itinerary along the North and South American continents, the lands where so many Galician peoples traditionally migrated seeking a brighter future. The CD starts with an accelerating rockabilly/country tune: ‘Co Xénio Destrozado’, then followed by an Argentine milonga (‘Milonga de aquí’). The third one is a great song of Cuban inspiration: ‘Canto aquí, canto na Habana’, with Roberto ‘Látigo’ and Xabier Ferreiro on the Cuban percussions, and a chorus with 3 Lucías: Souto, Cela & Ínsula. The tribute to central America comes with ‘Boto en falta unha ilusión’, with Fernando Brocos playing classic guitar. Then the powerful rhythm&blues or rock&roll returns with ‘Unha sombra de min’, followed by ‘Non se me ocorre’, with Nani Garcia playing the piano. Now back to the Caribbean sounds in ‘Concordias de papel’. Blues in ‘Se non podo ir a onde ti estás’. R&R again with ‘Algo que me anime’. More blues: ‘Porco blues’. ‘Rebelarse á conciencia’, a quiet song, tango style with piano (Sergio Delgado), violins & viola (Alfonso Merino). And finally ‘Unha mañá de setembro’, a totally beautiful slow air with Galician trad sonorities, the great bagpiper Pedro Lamas playing a melancholic recorder, and ‘Sés’ singing and playing the bass drum. María-Xosé Silvar for sure demonstrates big musical talent, and agility to develop her skills composing and performing a variety of popular styles. But she also displays an attractive image, ironic, with optimistic self-assurance, deploying the intelligence required to shoot out one sharp message after another in her lyrics. A critical attitude firmly declared in the fragment of Argentine’s epic poem Martín Fierro (José Hernández, 1834-1886) printed in the CD cover : “...I sing giving opinions as that’s my kind of song...”.
© Pío Fernández


Unni Boksasp Ensemble "Kvite Fuglar"
Own label, 2013

www.boksasp.no

My favourite contemporary Nordic roots album at the time being! Unni Boksasp is an award-winning folk singer and dulcimer player (Spellemannprisen, Folkelarmprisen, ...), hailing from Nordmøre in the far north of Norway, now living in Telemark in the southern part of the country. She started out with re-interpreting traditional Norwegian songs. More recently she composed her own songs based and rooted in traditional music. So are all songs of her third CD, "Kvite Fuglar" (White Birds). The album is named after a line from a poem of Norwegian lyricist Tor Jonsson (1916-1951), and most lyrics from the album describe Unni's physical and mental journeys. Unni Boksasp let her songs out into the world on the strong wings of the white bird, not knowing what might happen to them. The strong wings in question are catchy melodies, multilayered arrangements and a firm backing band, featuring Jorun Marie Kvernberg and Olav Mjelva on fiddles and hardanger fiddles, Trygve Brøske on wood organ, Magne Vestrum on double bass and Petter Berndalen on percussion.
© Walkin' T:-)M


Svjata Vatra "Svitlyi Schljah"
Own label, 2013

www.svjatavatra.com

Gogol Bordello[42] meets the Kalevala, dance music that makes a difference! Trombonist Ruslan Trochynskyi had played in Ukrainian folk rock band Haydamaky.[36] In 2005 he moved to Estonia and formed the group Svjata Vatra (holy fire in Ukrainian) with local Estonian musicians.[33][37][44] These days it is the trio of Kulno Malva (accordion, bagpipes), Juhan Suits (bagpipes, wooden horn, whistle) and Martin Aulis (drums, percussion). Ruslan, the spiritual leader of Svjata Vatra, is a unique trombone player as well as a keen vocalist, and along the way using the scythe as a rhythm instrument. As previous releases, their fourth studio album "Svitlyi Schljah" (A Brighter Way) blends Ukrainian and Estonian roots, kiddies' game songs and runo songs, with punk and rock aesthetics.
© Walkin' T:-)M


Genticorum "Enregistré Live"
Own label, 2013

www.genticorum.com

These young roots artists from Quebec only form a trio, but weave a dense sound carpet in both studio setting[30][42] and on the concert stage.[40][49] "Enregistré Live" has been recorded before an enthusiastic audience in Farnham City Hall, East Quebec, in December 2012. Fiddler Pascal Gemme is born in the countryside near the venue, family and friends were in the audience, his father had not seen him playing on stage before. The group's fifth album, the first live, kicks off with Pascal's suspense-creating fiddle, Alexandre de Grosbois-Garand's flute bouncing along and Yann Falquet's DADGAD-guitar delivering a steady rhythm. "Le Forgeron" evolves into a gorgeous French/French-Canadian call-and-response song, featuring Pascal’s gritty vocals and challenging three-part harmonies of the entire group. Pascal also has written the accompanying "Gigue de la forge". While the concert proceeds there are more old songs and a couple of Pascal's original tunes, a Finnish polska and mouth music by the legendary La Bolduc (aka Mary Rose-Anna Travers, 1894–1941), known as the Queen of Canadian Folksingers. Great stuff!
© Walkin' T:-)M


Battlefield Band "Room Enough For All"
Temple Records, 2013

www.battlefieldband.co.uk

After the Alan Reid years[50] the Battlefield Band's new line-up is back with its second release. Eagerly anticipated by friend and foe, fans and critics alike, Mike Katz, Alasdair White, Ewen Henderson and Sean O’Donnell are stubbornly moving on. In short, "Room Enough For All" is much better than their first few stumbling steps.[46] It's ingredients though are the same: Ulsterman Sean O'Donnell sings Andy Mitchell's "Farewell To Indiana" (see also Paul McKenna's new album),[51] ft. the harmonica of Mike Whellans,[37] and US poet Aaron Kramer's "In Contempt". He is also responsible for the album's opener "Bagpipe Music," his setting of Louis MacNeice's poem, written after visiting the Hebrides in the 1930s, to traditional bagpipe music ("Maids of Kintail"). Ewan Henderson delivers Scots Gaelic songs, this time "Nic Coiseam", using two different tunes, the more common one and one learned from Griogair Labhruidh,[36] "Duanag an T-Seòladair" (Song of the Sailor) with additional verses and music, and a bit of puirt a beul (mouth music). Mike Katz and Alasdair White launch into fervid dance music on bagpipes and fiddle, respectively. It's mostly traditional Scottish music, including "The Merry Lads of Air," which is originally a reel but played as a polka here. Mike Katz wrote the reel "Peter the Dolphinmaster" for the late Ceolbeg multi-instrumentalist Peter Boond.[51] The album finishes with another original tune, the quickstep "Tynes In Overtime!," a tribute to the Scottish-born kicker for the New York Giants, Lawrence Tynes. Can't be beaten!
© Walkin' T:-)M


Colin Nea "Between the Jigs & the Reels"
Own label, 2012

Enda Seery "Síocháin na Tuaithe
(Peace of the Countryside)"
Own label, 2013

www.colinneamusic.com

Orginally from Castletown Geoghegan, Co. Westmeath, button accordionist Colin Nea moved to Kilfenora, Co. Clare in 1999. The double All-Ireland Senior Button Accordion champion (1993 and 1994) feels that the music on his second solo album still retains a strong Midlands influence, though his playing has evolved since moving to the west of Ireland. It's mostly jigs and reels, with a grand opening of Ed Reavy's reels "O'Leary's Ireland / The Whistler of Rosslea," and a mix of the old and the new, e.g. the reel "Sam's Delight" by his cousin, flutist Enda Seery (see below). "Jessica's Jig" had been composed by his late mother-in-law Phil McMahon for his 10 year old daughter Jessica, who joins him on the fiddle. Midway through the album - between the jigs & the reels - is an excursion to the old set dance "The Roving Peddler" and a new "Planxty 2000," written by Phil and featuring Jessica again. Thrown in for good measure are three vocal performances by Colin's younger sister Kathryn in traditional Irish sean nós style: "Where the Moorcock's Crow" from the Sam Henry collection, the (Scottish) "Night Visiting Song" made famous by Luke Kelly, and the old Munster song "Eileen O'Neill."
The tracks have been recorded at the Roadside Tavern, a popular music pub in Lisdoonvarna on Good Friday 2012 with the accompaniment of Jack Talty on the piano. Colin's delivery on his Pietro Mario accordion is muscular and full of passion, and shows a highly skilled young button accordionist with a classic selection of Irish tunes.

www.endaseery.com

Meanwhile Colin's Westmeath cousin Enda Seery[46] also is presenting his second solo album of flute and whistle music, Síocháin na Tuaithe. The album kicks of with some original reels, including the above-mentioned "Sam's Delight." His selection is merging traditional, recent (Crehan, O'Brien, Dwyer) and original tunes. The title track, "Síocháin na Tuaithe" (Peace of the Countryside), is a slow waltz to celebrate the native countryside. The hornpipe "Langton’s of Kilkenny" won 3rd place at the 2011 All-Ireland Fleadh in the Newly Composed Tune section. Last but not least, Enda sings on two tracks, "It's a Working Man I Am" by the late Canadian country singer Rita McNeil,[51] and the well-known Scottish-Irish "Loving Hannah," which Peggy Seeger,[31] Steve Tilston[32] and many others did.
Enda had boldly left his school teaching job behind and enrolled for a Masters in Irish Traditional Music Performance at the World Academy in Limerick. Obviously his get-together with the likes of Mary Bergin[30] and Kevin Crawford[47] has made a major impact. It enriched his repertoire, polkas and set dances are featured here. His playing is more refined and articulate. Backed by guitarists John Byrne and Tom Delaney and at times joined by fellow whistler Eoghan MacAogáin and fiddler James Hughes, his whistle and flute playing is straight-forward but punchy. The pace is unhurried throughout the album. I don’t like to play mad fast, he says. I kind of like to concentrate on the melody of the tune. He cites Westmeath button accordionist John Joe Gannon as a big influence (John Joe probably also inspired Colin Nea): John Joe had that old style of playing, not playing too fast and concentrating on the tune more.
© Walkin' T:-)M


John McEvoy "Traditional Irish Fiddle"
Lagore, 2012

www.johnmcevoyfiddle.com

A finer fiddle album is hard to find! This fiddler from Birmingham has developed his own original style, blending the fiddle music of Sligo and Clare into something new. Though this sounds quite unheard of, "Traditional Irish Fiddle" is pure, timeless trad (the title says it all) and no fancy take on Irish roots. John McEvoy previously recorded with his sister Catherine McEvoy[30] and Roscommon’s John Wynne,[34] both skilled flutists in their own right. Now John is the musical centre, even when Catherine and John and a couple of other supporting and backing musicians such as Mick Conneely[48], John Blake[50], and McEvoys galore lend one hand or the other. It's mostly reels, reels, reels ... from the easygoing "Paddy the Piper" to the galopping fiddle, box & flute extravaganza "Limestone Rock". The latter is featuring John's original "Flat House Reel", he's also written a pair of jigs and another set made of reels. Most of the 15 tracks is pure trad with the occasional Bobby Casey, Ed Reavy, Sean Ryan and Brendan McGlinchey tune thrown in for good measure.
© Walkin' T:-)M


Barrule "Barrule"
Wardfell Records, 2013

www.barruletrio.com

The Isle of Man has an extremely rich and diverse musical heritage, yet when compared to its Celtic cousins, Manx music is often not given the recognition it deserves. We're hoping to change that and put Manx music in front of as many people as possible, both on the island and, most especially, off it.

German CD Review

Says accordionist Jamie Smith of Mabon fame.[44][51] The bred-and-born Welshman became involved with the traditional music of the Isle of Man, located in the Irish Sea between Britain and Ireland, due to his marriage to Manx dancer, fiddler and singer Gráinne Joughin ten years ago. 19-year-old fiddler Tomás Callister and mainland-born bouzouki player Adam Rhodes (also of Mabon) complete the line-up of this power trio, named after the summit where legend places the iron age fortress of the Celtic God Manannan Mac Leir. The hill is featured in the Manx national anthem, where the island is said to be firm as barrool. Equally strong is the sound of the trio embracing delicate and sometimes cinematic arrangements of jaunty jigs and marches, such as "Mylecharaine's March" which had inspired the Manx anthem. David Kilgallon's "Allen Barbara" has an irregular time signature based on the Manx version of "Barbara Allen".
The album also features melancholic slow airs such as "Irree ny Greiney" (The Rise of the Sun), the tune of a song by Manx poet and culture activist Robert Corteen Carswell. Guest vocalist Gregory Joughin features on some beautiful tracks: his own song "In Search of Manannan" seeking help from the ancient god of Man, and the Manx Gaelic ballads "She Lhong Honnick Mee" (I Saw a Ship Sailing) and "Ny Kirree fo Niaghtey" (The Sheep Under the Snow). Manx is a Celtic language closely related to the Irish and Scottish Gaelic and now considered critically endangered. Jamie himself delivers Greg's original song "Langness." The CD booklet (in Manx and English) features all Manx lyrics and English translations.
"Barrule" is a different kind of album, a distinct take on Celtic music somewhere inbetween Celtic and English traditions, and highly recommended!
© Walkin' T:-)M


Bernadette Morris "All The Ways You Wander"
Own label, 2013

www.bernadettemorris.com

All the Ways You Wander, all the ways you roam, all across great oceans, all across the foam ... John Spillane's "All the Ways You Wander" sets the mood for this marvellous selection of Irish songs about separation, emigration and exile. It's mostly trad (apart from a Barry Kerr and a Nic Jones song, respectively): "Brocagh Braes," an emigration song from Co. Tyrone with a surprisingly happy ending, "Lord Donegal," a heart-breaking love song from Cathal McConnell's song collection[47] (here with a faster rhythm and bodhrán accompaniment), "Johnny Lovely Johnny" from the Dolores Keane/John Faulkner repertoire, "Molly Na Gcuach Ní Chuilleanáin," the one Gaelic song and only one of a few as Gaeilge that is not slow and sad but bouncing along. With support of Beoga's Seán Óg Graham[46] and others, Bernadette Morris is revitalising both traditional and contemporary Irish songs with her clear and pleasant voice. Originally from Dungannon, Co. Tyrone, she calls Belfast her home. As a TV producer for ten years, she had worked with Donal Lunny,[51] Caoimhín Ó Raghallaigh[27] and Paul Brady,[48] which might prompted her to become a full-time folk singer. This might be a brave choice, but "All The Ways You Wander" is evidence enough that Bernadette has the passion and the ambition to become a success.
© Walkin' T:-)M


Marie Fielding, Tom Orr, Donogh Hennessy "an trá"
Rumford Records, 2013

www.mariefieldingmusic.com

Sure thing, this a gorgeous collaboration of three first-class traditional artists: Scottish fiddler Marie Fielding is the melodic centre of the project with proper support by accordionist Tom Orr, and joined by Irish guitarist Donogh Hennessy (ex Lunasa).[37] Special guests on selected tracks include Pauline Scanlon[32] (vocals on Patrick Kavanagh's "Raglan Road"), Michael Herlihy (accordion), Trevor Hutchison (double bass), Dessi Kelliher (banjo), Damien Mullane[50](accordion) and Jeremy Spencer (fiddle). The outcome is not only a collaboration of Scottish and Irish musicians, but also the exploration of different and common styles and repertoires: traditional tunes from the Shetland reel "Aan Dowin a Da Bow" (slowed down here) and the strathspey "Glengarry's Dirk" (developed into reel), up to the ancient Irish slow air "Amhrán na Leabhar" (Song of the Books), as well as contemporary material from Mike McGoldrick,[31] John McCusker[26] and Giles Chabenat. Marie Fielding herself wrote a lot of the material, including the alluring mini suite "An Trá" (The Beach) with its three parts "Calm", "Awakening" and "Storm," which had been inspired by the picturesque landscape of the Dingle peninsula in the west of Ireland. The trio's performance is superb and the arrangement of the tune sets is constantly changing (sometimes only by altered guitar chords), so it never gets boring and keeps you on your toes.
© Walkin' T:-)M


Sylvain Barou, Dónal Lunny, Pádraig Rynne "Triad"
Own label, 2013

www.padraigrynne.com
www.sylvainbarou.com

Britanny, Clare and Dublin join forces for a grooving 21st century roots album of Celtic provenance. Young virtuosos Sylvain Barou (flute, uilleann pipes)[49] and Pádraig Rynne (anglo concertina)[32] of Guidewires[40] team up with bouzouki veteran Dónal Lunny of Planxty,[30] Bothy Band,[30] Moving Hearts[35] and Mozaik[36] fame. That's a great line-up (add some support from uilleann piper John McSherry, fiddler Tóla Custy and 12-string-guitarist Jacques Pellen), and the promise is held from the first few notes to the very end. The albums kicks of with Pádraig's hop jig "It's a Thought When You Think About It" followed by John McSherry's "Slide from Grace"[42] and the traditional Irish slide "Star Above the Garter". There's more original tunes from Pádraig and Dónal, with the popular jig "The Rolling Wave" and Randal Bays's[39] slow reel "First Hard Rain" thrown in for good measure. Sylvain is responsible for a 7/8 Macedonian line dance ("Lesnoto Horo"), the Breton "Ton Disanv" written by bombarde player Gildas Moal, and Olov Johansson's (nyckelharpa player with Swedish band Väsen)[41] "Svampmannen" (Mushroom Man).
© Walkin' T:-)M


The Willows "Beneath Our Humble Soil"
Own label, 2013

www.thewillowsband.co.uk

The Willows are a family band from Cambridge, writing their original songs in an alt-country mould which draw their inspiration rather from the US than the UK. In the centre are the bright soothing vocals of Jade Rhiannon Ward. Her husband Cliff Ward delivers lively banjo stomps. Eventually, the full band kicks in (Prue Ward on fiddle, Ben Savage on guitar and dobro, Stephen MacLachlan on percussion and piano) to carry their storytelling songs: brutal murder ballads, heart-grieving love songs, topical songs as well. Desolate as this sounds, the songs are rather jaunty. The resourceful songwriting is complementing the excellent musicianship. Production credits of the Willows' debut go to Stu Hanna (Megson) and I'm sure this is not the last we heard of this enterprising outfit from the banks of the Cam.
© Walkin' T:-)M


Runa "Somewhere Along the Road"
Own label, 2012

www.runamusic.com

"Somewhere Along the Road" is the third album after 2009's "Jealousy"[41] and 2011's "Stretched on Your Grave".[45] Karine Polwart's "The Dreadful End of Marianna for Sorcery" wonderfully opens the proceedings, followed by a selection of traditional Irish and Scottish songs in both English ("Here’s a Health", "Eppie Morrie", "Allison Cross, ...) and Gaelic ("A stór, a stór a ghrá", "Seinn O Ho Ro", "Amhrán Mhuighinse"). Shannon Lambert-Ryan of Philadelphia is the colourful bright vocalist. Her husband, Dublin-born guitarist Fionán de Barra, Canadian percussionist Cheryl Prashker, mandolinist Dave Curley, Japanese fiddler Tomoko Omura and eventually Isaac Alderson’s flute make up the rest of the line-up for a contemporary and cool take on Celtic music, subtly blending influences from jazz and rock music into the mix. I can only recommend to meet them somewhere along the road.
© Walkin' T:-)M


Colm O'Brien "Back to Work?"
Own label, 2012

www.colmobrien.com

Almost two deacdes ago, Colm O'Brien dropped out of the computer business: I’d been outside having a smoke, and when I came back in I saw the rows upon rows of desks and it all just reminded me of battery chickens. I sat down, typed out a letter of resignation, handed it to my boss, and said, ‘I’m going to put my guitar on my back and see where it takes me. The Dublin-born guitarist and vocalist moved to the US of A in 1999, played with several ballad groups and eventually joined the jig-punk band The Prodigals for 1,5 years, featuring on their fourth album "Needs must when the devil drives."
Eventually, Colm O'Brien went solo and "Back to Work?" is his second solo album after 2004's "It Is What It Is". Based in Boston, Colm O’Brien is an admirer of the Irish ballad tradition: "The Hot Asphalt", "Quare Bungle Rye", "The Good Ship Kangaroo" ... - great adaptions with passionate guitar playing and delivered in gritty vocals with a nice Irish lilt. "Deep In Canadian Woods," describing the unsuccessful attempt to seize Canada by Irish Fenians in 1866, is a song that Colm's grandfather used to sing. Colm's own compositions mostly deal with working class Irishmen in the American diaspora, social injustice and the economic crisis ("Illegal in America", Big Banker Man"), which also explains the album's title "Back to Work?". These are all songs that get me going, Colm says. The album is a reaction to what is going on economically and socially here and around the world. I needed to say something. They make good ballads and pub songs, too!
© Walkin' T:-)M


Brian Hughes "The Beat of the Breath"
Cló Iar-Chonnacht, 2013

"The Beat of the Breath" is the third solo album by Irish whistle player Brian Hughes from Athy in Co. Kildare. The album's title can be explained by the fact that one critic once suggested that rather than interfere with the music, Brian's breath sounds actually add to the dynamics. It is a highly original style, though deeply rooted in the tradition, rhytmically to the point. His John Sindt whistle has a bright tone. Brian Hughes plays whistle on all tracks with the subtle backing of Garry Ó Briain (piano, guitar, mandocello), Seán McElwain of Téada[42] (guitar, bouzouki) and Donnchadh Gough of Danú[42] (bodhrán). Darach de Brún's reel "Maple Leaf" kicks off a lively and powerful collection of Irish dance tunes, mostly traditional apart from US fiddler Liz Carroll's hornpipe "The Plane of the Plank" (I never heard it before), Canadian bagpiper Colin Magee's jig "Troy’s Wedding"and flutist/fiddler Francis O’Connor's slide "The Dirty Trettles". I particularly like to draw your attention to a beautiful set of polkas: "Maids of Ardagh / Tuarmore / Many's a Wild Night". David Day's African percussion enhance "O’Sullivan’s March." Brian Hughes loves to play slow airs with all its inherent sadness and loneliness, and two popular song airs are featured here: the often recorded "Táimse im' Chodladh" (I Am Asleep) and the well-known, though less performed "Slán le Máigh" (Goodbye to the River Maigue). Unfortunatly both are a bit over-produced and Brian's otherwise beautiful rendition is drowned in the mix. Extensive background notes about all the tunes in Irish and English are featured in the sleeve notes.
© Walkin' T:-)M


Session A9 "Live at Celtic Connections" [CD & DVD]
Threads of Sound, 2013

www.sessionA9live.com

The septet from North East Scotland staged their latest studio album[49] (and three bonus tracks not on the album) at Celtic Connections. It is even better than the studio album, yes, Session A9 was awarded Scots Trad Live Act of the Year in 2012. Fiddlers Charlie McKerron (Capercaillie),[36] Gordon Gunn, Adam Sutherland (Treacherous Orchestra),[48] and Kevin Henderson (Fiddlers Bid, Boys of the Lough),[47] are in fine form, backed up and enriched by guitarist Marc Clement, keyboarder Brian McAlpine and percussionist David Robertson. The set comprises five instrumental tracks from the studio album, minus the Breton ridee set, plus an encore of 3 more instrumental sets from Session A9's huge repertoire. From the start with McKerron's "Wedding Polkas" it is fun to watch and listen on DVD and CD, respectively. The lads really launch some gaudy fireworks. Most tunes have been composed by McKerron, with the occasional Gordon Duncan, Jerry Holland, Rory Campbell tune and a Shetland reel thrown in for good measure. Marc Clement is the folk pop vocalist rendering Jackson Browne's "These Days", Karine Polwart's "Dig a Little Well for Zoe" and John Martyn's "One for the Road," giving the instrumentalists (and the audience) a little break.
© Walkin' T:-)M


Various Artists "Seoda Ceoil 1&2" [2 CDs]
Gael Linn, 1968-9/2013

Eithne Ní Uallacháin, Gerry O'Connor, Desi Wilkinson
"Cosa gan Bhróga"
Gael Linn, 1987/2013

Various Artists "Baidin Fheidhlimi -
Selected Gael Linn Singles 1968-80"
Gael Linn, 1968-80/2013

Gael Linn, Ireland's longest-running record company, celebrates 60 years in the business. The not-for-profit organisation for the promotion of the Irish language and culture had been founded in 1953 and produced a weekly radio programme for RTÉ at first. In the late 1950s they issued their first LP, "Ceolta Éireann" with baritone singer Tomás Ó Súilleabháin accompanied on piano by Seán Ó Riada.[28] Over the years the output included the seminal Skara Brae album[5] as well as the feature films "Mise Éire" and "Saoirse?".[34] Plans are to release more material from the archives and a new album by the group Téada.[42]

The first few drops from Gael Linn's back catalogue comprises a double CD of solo recordings of traditional Irish music, originally issued as 2 LPs in 1968 and 1969, Seoda Ceoil 1&2. (Actually eight volumes were planned in total, but never released.) The recordings have been digitally remastered and are available on CD for the very first time. The featured artists were leading performers then, and called legends nowadays. Disc #1 features three musicians from the West Coast of Ireland, counties Clare and Galway, respectively: Willie Clancy (uilleann pipes, tin whistle),[41] John Kelly (fiddle, concertina) and Seán Ó Conaire (sean nós song). Disc #2 features four more artists: Séamus Ennis (pipes),[41] Seán Keane (fiddle), both from Dublin, Seosamh Ó hÉanaí of Galway (Joe Heaney, sean nós) and John Joe Gannon (accordion) of Westmeath. "Seoda Ceoil" (Musical Treasures) is a most welcome peek into times past and the undiluted traditional styles played in the late 1960s, before the folk revival propelled these classic tunes into worldwide circulation.

www.gerryoconnor.net
First released in 1987, Cosa gan Bhróga is another classic album featuring the music from Oirialla (the ancient Gaelic kingdom near Dundalk) in east coast county Louth in particular and music from the north eastern Ulster province in general. The album features a series of duets and solos from fiddler Gerry O’Connor and flutist Desi Wilkinson (backed up by Liam Reilly on piano/keyboards and Mick Daly on guitar). Classic traditional tunes again, with the odd Vincent Broderick and Tony Sullivan thrown in for good measure, masterly performed. Some surprises, "The Shelf Polka" I only know from Téada,[32] and there is a 3-part version of the reel "Considine's Grove". Interspersed are four more or less unaccompanied Gaelic songs (well, with bit of keyboard and guitar), delivered by the brilliant Eithne Ní Uallacháin: "Is fada mo chosa gan bhroga" and "Badai na Scadan", laments of a young man joining the army and a father bemoaning his drowned sons, respectively, I have heard performed by pipers as instrumental airs. I didn't know the airy song "Neilli Nic Dhonaill" and Art Mac Cumhaigh's (1738-1773) dramatic "Ag Bruach Dhun Reimhe" lamenting the end of the Gaelic regime in Ireland.

Following the release of this promising debut album for all three artists, Gerry and Eithne (who passed away in 1999)[10] went on to form a successful partnership and released the albums "Lá Lugh" (1992), "Brighid’s Kiss" (1996) and "Senex Puer" (1998). Gerry recorded four albums with the group Skylark, a couple of solo albums,[31] edited Cathal McConnell's songbook,[47] and calls his current band and album "Oirialla" as well. Desi Wilkinson further developed his accented flute style rooted in the Sligo-Leitrim tradition and is featured in many different outfits.[4][41]

Last but not least, Baidin Fheidhlimi is a compilation of 45 rpm singles, which Gael Linn issued after the late 1960s ballad boom until the advent of digital recording. Featured are Gaelic ballads such as "An Poc ar Buile", "An Buinnean Bui", "Caitlin Tiriall" and "Gleanntain Ghlas Ghaoth Dobhair" (the latter written by Proinsias Ó Maonaigh, father of Altan's Mairéad Ní Mhaonaigh). Half of these 20 tracks are in the folk pop and light folk rock mould, performed by the groups Emmet Spiceland (ft. Dónal Lunny),[51] The Johnstons (ft. Paul Brady[48] and Mick Moloney),[43] Clannad[50] and the Domhnaill siblings. The other half is music we Germans use to call schlager, i.e. inoffensive middle-of-the-road, easy-listening pop music, rather produced for senior ladies and gentlemen.
© Walkin' T:-)M


Dervish "The Thrush in the Storm"
Whirling Discs, 2013

www.dervish.ie

The award-winning traditional Irish group Dervish[43] is back with their first studio album in 6 years.[35] Flutist Liam Kelly, fiddler Tom Morrow and accordionist Shane Mitchell, backed up by the mandola of Brian McDonagh and bouzouki of Michael Holmes, sees Dervish revisiting their roots in the session scene of north west Irish county Sligo, kicking off with two lively jigs and two furious reels. "Maggie’s Lilt" is an exquisite barn dance, followed by a John Carty and a Vincent Broderick reel. The grande finale is the well-known reel "The Thrush in the Storm," an apt title for the album, as the thrush (storm cock) is the bird that sings at a thunderstorm. On a slower pace, Pat Crowley's hornpipe "The Harp and Shamrock" (named after Pat's parents’ pub in Kinsale, Co. Cork) and the jig set "Sheep in the Boat / The Rolling Wave" (the former an adaption of the song "Anach Cuain" by Junior Crehan,[42] the latter the popular jig played all over the place) features some marvellous interplay between the instrumentalists. The six songs have Cathy Jordan's[48] distinctive voice sparkling, though sometimes I feel it a bit too high to exact the right pressure. The songs are well chosen: ditties such as "The Lover’s Token" and "Shanagolden" are well-known fare, "Baba Chonraoí," the story of a young girl who runs away with the army, is (though positioned as track #2) the album's climax. "Snoring Biddy" as handed down had only two verses, so Cathy made up another and a modified ending.
Minor flaws aside, it is a solid album from a reliable trad outfit. I'm looking forward to their gig at 2013's Tønder festival.
© Walkin' T:-)M


Maurice Lennon "The Little Ones"
Cló Iar-Chonnachta, 2013

www.mauricelennon.com

The Lennon clan is well-known in traditional Irish music circles. Ben Lennon is an expert of the Leitrim style of traditional fiddle playing,[37] Charlie Lennon is a renowned composer, fiddler and piano accompanist.[34][40][46] Son and nephew, respectively, Maurice Lennon from Rossiniver in Co. Leitrim was All-Ireland Senior Fiddle Champion in 1977. Shortly after he formed the legendary band Stockton's Wing, I last heard of Maurice when recording his concept album about the medieval Irish High King Brian Bóru,[23] then he went off my radar. It turns out that Chicago has been his home for many years, playing music and promoting young and upcoming traditional artists. He furthermore successfully battled cancer in the last decade.
This might explain the soulful playing and the burning intensity of the music on Maurice's first solo fiddle release (uncle Charlie on piano, brother Brian on flute, and Noel O'Grady on bouzouki), balancing between joy and pain, high octane dance music (such as the reel "Road to Garrison," written by Maurice way back in the 1980s and played and brought to the public's attention by many traditional artists) and an exceptional number of ethereal slow airs - "The Little Ones", "A Letter Home", "When Hope Dawns" - all composed by Maurice. The latter composed at a time when I had little hope but because of the love and dedication of family and friends, hope returned. Eventually, there is a beautiful rendition of "If Ever You Were Mine," written at the age of 18 or 19, and perhaps his most well-known tune since recorded by Irish-American band Cherish the Ladies.
© Walkin' T:-)M


Emily Smith "Ten Years"
White Fall Records, 2013

www.emilysmith.org

Emily Smith had been raised in rural Dumfries, South West Scotland. Her first passion being dancing in her mum's dance school, she started on the piano with age seven, eventually picked up the piano accordion and started singing. With 18 she was National Mod champion on the accordion, and earned a degree in Scottish music from The Royal Scottish Academy of Music and Drama in Glasgow. In 2002 she released her first album "A Day Like Today,"[24] the beginning of a remarkable career on the Scottish folk circuit. Meanwhile she is married to fiddler Jamie McClennan, and since April 2013 they have a wee baby boy (congratulations!). That's Emily's bio, in short. She celebrates the tenth anniversary as a full time folkie with the release of a splendid Best Of album - 10 years, 14 songs, both traditional Scots songs and original compositions, from the albums "A Different Life" (2005),[31] "Too Long Away" (2008),[36] the Burns anniversary album "Adoon Winding Nith" (2009),[41] and "Traveller's Joy" (2011).[45] The albums also includes three previously unreleased songs (such as the traditional "Corncrake Among the Winnie Knowes"), the re-mixed original "Edward of Morton" and Robert Burns's "Silver Tassie," as well as a new version of Emily's own "A Day Like Today" (originally from 2002), ft. Jamie McClennan (fiddle)[40] and Matheu Watson (guitar),[5ß] plus two bonus live tracks from 2004 (an instrumental tune set, ft. piper Ross Ainslie)[36] and 2010 (Ruth Moody's "Glory Bound", ft. Irish flutist Alan Doherty),[42] respectively. "Ten Years" is a feast for the ears and the perfect soundtrack to showcase Emily’s career so far.
© Walkin' T:-)M


The Celtic Fiddle Festival "Live in Britanny"
Loftus Music, 2013

www.celticfiddlefestival.com

Way back in 1993 Irish fiddler Kevin Burke[43] (The Bothy Band,[30] Patrick Street[24]) teamed up with Scottish fiddler Johnny Cunningham.[27] They soon enrolled Breton violinist Christian Lemaître (Kornog)[19] and added an accompanist, John McGann (who had been replaced by Soig Siberil,[50] then Tony McManus,[43] Ged Foley, and these days it is Nicolas Quemener).[10] The quartet became known as The Celtic Fiddle Festival, Johnny was joking: We try to show how three distinct cultures have been destroyed by one common instrument! When Johnny Cunningham passed away in 2003, André Brunet from Québec took up the third position (De Temps Antan,[45] La Bottine Souriante[47]).
The 20th anniversary concert had been recorded in the Breton town of Guémené-sur-Scorff, home to Nicolas Quémener. Each fiddler gets his solo to display his individual style (just him and guitar; Nicolas Quémener also shines on a set of fiddle tunes picked on open-tuned guitar): the complex fiddling of old favourites from Irish County Sligo, the mesmeric melodies and grooves of a Breton fest-noz, and the unmistakably power and energy of Quebec. This is followed by a combined set featuring all three fiddlers together. This is a real treat beyond all borders and barriers. Recommended listening: "Gavottes Swing," four tunes by jazz accordionist Yves Menez followed by a gavotte version of a Moldavian hora; The Beoga set "Soggy’s / Waterboogie";[31] André Brunet's luscious waltzes, "Quand Soufflent Les Anges" (When Angels Breathe) and "Valse du Chef de Gare" (The Station Master’s Waltz).
© Walkin' T:-)M


Yvonne Bolton & Alan Jordan "Silver Threads"
Own label, 2013

www.yvonneandalan.com

Concertina player Yvonne Bolton hails from a musical family from Co. Laois, guitarist Alan Jordan is originally from Co. Mayo and a founding member of the cross-cultural outfit The Outside Track.[34] Both met at Limerick's Irish World Academy of Music and Dance and started a fruitful collaboration. The duo's debut album "Silver Threads" features no-nonsense, straight-forward traditional Irish music with concertina and guitar at its base. Yvonne also plays some fiddle and Alan low whistle and electric bass, ocassionally the support from Joe O Dubhghaill (cello), Dermot Sheedy (bodhrán) and Matteo Cullen (piano) make for a bigger sound. Two songs - the Bert Jansch[46] version of the traditional "Black Waterside" and Alan's own "New Road" - are thrown in for good measure, but it's certainly the instrumental tracks that twinkle and sparkle. 1/3 of the album are vivid tunes from the ancient and recent Irish tradition (such as Maurice Lennon's reel "Stone of Destiny", see review above,[51] a set of mazurkas, or a Scottish march/highland/reel set), 2/3 of the material is from their own. Check out: Yvonne's soothing waltz "Massacre de las Moscas;" Alan's reel "Dance of the Mermaid" (already recorded on The Outside Track's "Curious Things Given Wings"[42]); his cutting-edge "Dave & Pernille's Jig" with his accompaniment altering between 9/8 and 6/8 metre.
© Walkin' T:-)M


Finvarra "Finvarra"
Own label, 2013

www.finvarramusic.com

Finvarra is the High King of the fairies who lives on Knockmaa Mtn. in Irish Co. Galway. He is regarded as a benevolent figure who ensures good harvests and great riches. Indeed, this is a rich harvest here from this Celtic outfit based in Rembrandt's native city Leyden in southern Holland. The line-up features singers Dieke Elfring and Gwendolyn Snowdon, fiddler Corné van Woerdekom and guitarist Patrick Broekema. The group's sound travels east (as the Dutch East India Company did) in search for oriental spices, along the way picking up Irish music. Their debut CD mainly consists of traditional songs and tunes. We heard Irish-American group Solas orientalizing the good old "Wind That Shakes the Barley",[32] Finvarra even goes a little step further. So is the musical treatment of "The Blacksmith" (whose rhythm already suggests a easter European origin) and "The Well Below the Valley". Add Jethro Tull's "Kelpie" (the grand opener of the album), Led Zeppelin's "Battle of Evermore" and William Blake's poem "A Poison Tree" set to music by Dieke and Patrick, the Balkan songs "Jovano Jovanke" and "Dimna Juda" (Scottish band Malinky did this before)[14] for an irresistible and entertaining mix that goes down well.
© Walkin' T:-)M


Delia Murphy "If I Were A Blackbird"
White Hound Music, 2013

www.deliamurphy.com

Delia Murphy passed away 42 years ago, but is still regarded as one of Ireland's foremost and best-loved folk singers. From the 1920s to the 1960s she travelled all over the world by the side of her husband, Irish ambassador T.J. Kiernan. Delia performed regularly on radio and made several records, her becoming what probably was Ireland's first female popular singer. I highly recommend to read Aidan O'Hara's biography "I'll live till I die" (Drumlin Publications, 1997). Delia Murphy was the proverbial songbird,[38] and "If I were A Blackbird" her signature tune. Delia's grandson, Ronan Browne[45] recorded the song air on his uilleann pipe album "The Wynd You Know".[24] Now he compiled a selection of early recordings from 1938 to 1941, which include popular hits ("Down By the Glenside", "Lowlands of Holland"), well-known songs, but rarely recorded these days (Spinning Wheel", "Three Lovely Lassies From Kimmage"), and the downright forgotten ("Send Back My Barney", "I Was Told By My Aunt"). Well, that's the real stuff!
© Walkin' T:-)M


Seán McKeon "To the City"
Own label, 2013

www.facebook.com/tothecity

"To The City" is the solo debut of uilleann piper Seán McKeon. He was born to the well-known piper Gay McKeon[31] in Dublin and learned to play the pipes by the great Seán Óg Potts. Quite fittingly, his duo album with fiddler Liam O'Connor in 2009 was named "Dublin Made Me".[39] Today he is a member of the Damien Dempsey Band,[35] and has half a dozen All-Ireland trophies on the cupboard. Seán McKeon is a piper who obviously has learned his trade well. I hear a lot of older incluences which are often forgotten by many young pipers. Not only technically an expert, his performance is thrilling but authentic. With Liam O'Connor on the fiddle and John Blake on guitar and bouzouki, Seán guides you through a grand tour of fiery reels and swinging jigs (e.g. the 18th century jig "(Purty) Molly Brannigan") and bouncing hornpipes ("Thomond Bridge" played in the key of G here; "Building Up and Tearing England Down" originally being a song air[34]). Also featured are "Planxty Davis" (originally called "Killiecrankie" and composed by Irish harper Thomas Connellan in the 1600s) and the multi-layered slow air "Beauty Deas an Oileáin," where Seán's playing is full of heart and soul.
© Walkin' T:-)M



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