FolkWorld #54 07/2014

CD & DVD Reviews

Lilt "Little Falls"
Own label, 2013

Artist Video

www.liltirishmusic.com

The Irish trad duo Lilt from the Washington DC area has been quite convincing in the studio[48] and on the concert stage.[50][51] German flutist and whistler Tina Eck and bouzouki, mandolin and banjo player Keith Carr form a tight outfit; Keith hosts the regular sessions at the Limerick Pub in Wheaton, MD, and many session mates were employed as support. The tunes and sets of their already third album "Little Falls" have been selected from the traditional pool as well as taken from luminaries such as concertina player Padraig Rynne, fiddler Gerry Harrington, box player Chris Leahy and harpist Michael Rooney. Moreover, the jig "Tigger's Jokes" has been composed by Tina. "An tSeanchailleach Gallda" (Old Hag from a Foreign Land) and "Dermot Byrne's Jig" are two Altan tunes, played in memory of the late flutist Frankie Kennedy. The album features Josh Dukes on bodhrán and guitar, Graham DeZarn on the fiddle and Conor Hearn on guitar. Sean-nós stepdancer Shannon Dunne steps it out on "The Messenger" (written by harmonica player Joel Bernstein) and the "Roscommon Reel". Cellist Kristen Jones is featured on the air "Planxty Dermot Grogan" (by harpist and concertina player Holly Geraghty).
Last but not least, there is Jackie Daly's version of "An Paistin Fionn," a slow air turned into a bouncing hornpipe, and a novelty after all - a song! The duo has chosen old-time/cajun artist Dirk Powell's "Waterbound," which has been recorded at least twice in recent times. "Little Falls" is an Irish music collection full of verve, continuing the duo's Œuvre into the future.
© Walkin' T:-)M


Peter Carberry & Pádraig McGovern "Forgotten Gems"
Own label, 2013

Artist Video

www.carberrymcgovern.com

Accordionist (and banjo player) Peter Carberry[42] is from the Irish County Longford. In the late 1960s he emigrated to Manchester, where he played with the legendary Felix Doran, Michael Gorman and Des Donnelly Sr., and subsequently taught the next generation (Dezi Donnelly, Michael McGoldrick, ...). Before the millennium Peter Carberry moved back to Ireland and passed on the music he was brought up with, e.g. to his daughter Angelina.[30]
Peter Carberry had lost the top of his second finger on the right hand, which he first compensated by playing second-finger parts with his third finger. Then, on advice from fellow-accordionist Maírtín O’Connor,[39] he completely changed his B/C accordion style for the older press-and-draw Cb/D style. In recent years he teamed up with uilleann piper Padraig McGovern from the Cavan-Leitrim area. Peter Carberry tuned his box in accordance to Padraig McGovern's B pipes, his accordion bases to the regulators of the pipes, he also adapted the instrument to the piping repertoire and his fingering to piper's variations, which seemingly has never been done before. As if this marriage of accordion and pipes isn't bizarre enough, the duo's mission explicitly is to resurrect the style and repertoire of the Irish Midlands. There are special versions such as Seamus Ennis’s slip jig "Lark in the Morning" or Patsy Touhey’s "Rip the Calico". Maggie Barry and Michael Gorman's jig "The Strayaway Child" is a popular fella though rarely recorded, whereas the slip jig "Furnill's Frolic" and the "Fourth Dragoon March" I haven't even heard of. Furthermore, Carberry and McGovern have selected a slow air, "Úirchill a’ Chreagáin," and two flings, "Jimmy Dolan’s / John Joe Gannon’s," and McGovern penned a lovely reel, "Ballymagovern Fair".
All chosen tunes fit perfectly to their relaxed performance (supported by harpist Sabina McGovern, bouzouki player Brian Mooney and bodhrán player Séamus O'Kane), which allows subtle variations and a display of technical virtuosity.
© Walkin' T:-)M


Michael McCague "The Waylaid Man"
Own label, 2014

Artist Video

www.michaelmccague.com

Michael McCague started on the fiddle at the age of six and graduated to bouzouki and guitar a decade later, playing traditional Irish music ever since. He recorded with flutist Dave Sheridan,[33] banjo player Stevie Dunne[49] and fiddling brother Dónal,[47] and joined both John Carty's At the Racket and John McSherry's At First Light as accompanist.[46] Michael's debut solo album "The Waylaid Man" illuminates his own music pieces, composed on both fiddle and banjo in the traditional vein. However, Michael himself provides accompaniment only on bouzouki and guitar, his tunes are performed by skilled fiddlers such as Dónal McCague, Oisín MacDiarmada[48] and Nollaig Casey,[38] uilleann piper John Mc Sherry[42] and banjo player Brian McGrath.[39] "The Waylaid Man" features the first reel Michaelm ever wrote ("An Early Start") and recent compositions where he went "Back to the Source" of traditional Irish music. Other tunes explore more peregrine territory. "No Time for Time" (with 3 parts of different meter - 18/8, 10/8, 7/8) and "Fermat’s Di-lemma" (straightforward 7/8) then have been written in a Macedonian style; the floating "Wandering Seven" is a tune in 7/4, and the bittersweet "Peasant’s Lot" switches between 3/4 and 4/4 time. Whereas "At Liberty" is a Tommy-Potts-like reel, Michael eventually came up with the chords to "The Shadow Jig" first before he thought of a melody, exploiting the musical ideas of the late American jazz guitarist Barney Kessel.
Michael McCague's "The Waylaid Man" joins the ranks of a couple of recent recordings which fathom base and border of traditional Irish music. Inventive, intelligent, yet still connected to the source.
© Walkin' T:-)M


Louise Mulcahy "Tuning the Road"
Cló Iar-Chonnacht, 2014

Artist Video

Traditional Irish flutist Louise Mulcahy has been brought up in a musical household, and you may have seen her perform or even own a recording of her family group.[27][40] "Tuning the Road" is Louise's debut solo album, a beautiful mix of traditional and not so traditional Irish jigs, reels and hornpipes. The latter includes two melodies respectively by the likes of box player Peadar O Riada, and flutists John Brady and Paddy O'Donoghue; let me just mention the three-part reel "Trip to Peterswell" here. Sister Michelle[49] wrote the reel "The Tailored Jacket" and lends support on harp and piano, as does bodhrán player Colm Murphy. The album becomes a perfect piece of work with the haunting delivery of two slow airs, Carolan's "Kean O'Hara" and the traditional "Port na bPucai".
"Tuning the Road" satisfies with a beautiful tune selection and Louise's splendid playing on C, D, Eb flutes, Bb whistle and even C uilleann pipes; the latter she does on another song air, "The Bold Trainer O" (which is a version of "The Green Linnet"), and a set of jaunty reels, "The Boy On the Hilltop / The Merry Harriers / Five Mile Chase".
© Walkin' T:-)M


Cara Dillon "A Thousand Hearts"
Charcoal Records, 2014

Artist Video

www.caradillon.co.uk

Northern Irish singer Cara Dillon[22] travelled a rough road in recent years. Besides giving birth to twins in 2006 and another daughter in 2010, she was diagnosed with diabetes inbetween which greatly affected her performance schedule.[39] But Cara wasn’t going to let this beat her and adapted her daily routine accordingly. The new album "A Thousand Hearts" is supposed to join the ranks of her previous successful studio albums.[34][38] The common theme of the 11 songs are the affairs of the heart, featuring traditional Irish ballads such as "Táimse Im' Chodladh" and "As I Roved Out", the white gospel tune "Bright Morning Star", or contemporary pieces such as Shawn Colvin's "Shotgun Down the Avalanche". This colourful mix is held together by Cara's lovely soprano, that let her win the All-Ireland singing trophy twenty years ago, and her husband's clever production. Sam Lakeman himself played the piano and sought further support in musicians such as accordionist Luke Daniels[46] or whistler Jarlath Henderson[36] and guest singers such as Aoife O'Donovan[53] and Timothy B Schmit (of The Eagles fame).
The result is a delectable album that is not too saccharine (bad pun, indeed) nor too acerbic, but a staple diet. Cara Dillon has just been signed to Sony for prospective records, so the future looks bright for both the performer as her fans.
© Walkin' T:-)M


Simon McDonnell "The Hidden River"
Ride On Music, 2014

www.simonmcdonnell.com

Simon McDonnell is an Irish singer-songwriter from County Rennes, well, originally from Kilkenny, but based in Britanny for quite some time. He has a couple of strings to his bow, plays Irish folk music with the McDonnell Trio and world beat with Spring Barley. Always on board is accordionist Alexandre Sallet, supporting Simon McDonnell's mandola and guitar on his debut solo album "The Hidden River" with some nimble-fingered accordion playing. Not to forget some of Simon's musical friends adding touches of fiddle, flute, banjo and saxophon. Simon has been writing songs since starting on the guitar in his teens, and neo-folk songs such as "La Vilaine" or the appropriate "West Coast of France" are sure winners in his live set. Since then he mastered the traditional music of his native country, e.g. "Twatigan" (better known as "Sixteen Come Next Sunday"), "Banks of Allan Water" and "King's Shilling", as well as Anglo-American folk songs such as "Skewball". The "High Walls of Derry" has been set to a new tune and Alexandre Sallet penned a beautiful waltz to go with it. With his gentle vocals (only Jimmy McCarthy's all-time-favourite "Ride On" is sung by Faustine Audebert) Simon McDonnell is an excellent representive of the Irish ballad genre.
© Walkin' T:-)M


Poppy Seeds "Close Shaved"
Ride On Music, 2014

Artist Video

www.poppyseeds.fr

Back to France. Traditional Irish music can be a delectable thing, even if the musicians are not based on the home turf but abroad, and even if they are no emigrated Irish or have no Irish ancestry at all. Britanny is a Celtic nation with a distinct form of traditional music, quite different to Irish music. However, Irish music has been played on festivals and in pubs for decades, and Breton musicians (such as flutist Sylvain Barou)[51] have joined the ranks of internationally touring artists from Ireland. The four that form the group Poppy Seeds initially met at informal pub sessions. Benoît Volant and Pierre Cadoret play fiddle and flute, respectively, Tom Lemonnier is the accompanist on the guitar. The instrumental sets on their second album "Close Shaved" are made up of mainly contemporary jigs and reels (from Irish and Scottish composers such as Paddy O’Brien from Co. Offaly, Paddy O’Brien from Co. Tipperary Ed Reavy, Charlie Lennon, Jerry Holland, Maire Breatnach, Niall Vallely, Arty McGlynn, Gordon Duncan, Aidan O’Rourke). The band members also contributed some of their own. There are three songs decently delivered by Camille Philippe, who also plays mandolin and guitar; not from the Irish tradition though no strangers to it: "Rove Riley Rove" and "Billy Gray" (aka Cold as the Granger County Clay) are songs from the Appalachian Mountains (Bruce Molsky is quoted as the source), and New Zealander Bob Bickerton's "The Close Shave" (made popular by Andy Irvine). Songs and instrumental music are delivered in a style that can be heard these days from the west coast of Ireland up to London and New York. Some might argue that there is a non-Irish / European / French touch, but it is not necessary to stress such a notion. Poppy Seeds' "Close Shaved" is good as it is.
© Walkin' T:-)M


Julie Fowlis "Gach Sgeul - Every Story"
Machair Records, 2014

Artist Video

www.juliefowlis.com

Internet follies - according to Wikipedia Julie Fowlis had been born in 1929. They don't explain why she still is such a vivid performer as fresh as a daisy. True is that Julie is from North Uist in the Outer Hebrides, but rather born in 1979.
Anyway. Julie Fowlis is back. "Gach Sgeul" (Every Story) is the anticipated fourth studio album from the Scottish singer. In the four years since her last album "Uam"[42] she completed a masters degree in Gaelic culture, had two children, featured on Pixar's "Brave" soundtrack, and - we might assume - was looking for stories to share with the world. That's her motto: »I am fortunate to come from a place where telling tales, sharing stories and singing songs are not only a national pastime, but rather signposts showing us where, and who, we have come from. They help shape our identity and give us a sense of belonging. They make us laugh, move us to tears, and give us moral guidance.« Whether mythical tales ("An Ròn", i.e. The Seal) or love songs ("Siud Thu 'Ille Ruaidh Ghallain", There You Go, Handsome Red-Haired Youth), clan songs ("Smeòrach Chlann Dòmhnaill", The Mavis of Clan Donald), lullabies ("Cadal Ciarach Mo Luran", Sleep Well, My Beloved) or mouth music ("Danns' a Luideagan Odhar", Dance Dun-Coloured Slattern), Julie Fowlis is upholding and spreading the rich tradition of Gaelic Scotland, and that of North Uist in particular. Julie's husband Éamon Doorley (Danú's bouzouki player)[42] is mainly responsible for the opulent arrangements, utilising musicians such as the fiddlers from the group Rant,[53] Duncan Chisholm (violin as well),[49] Donald Shaw (harmonium, piano accordion),[36] Mike McGoldrick (pipes, flutes)[31] and Martin O'Neill (bodhrán).[50]
The old Scots Gaelic phrase Gheibhear deireadh gach sgeòil an asgaidh (the end of a tale is got for nothing) means that every story will be fulfilled, patience brings rewards and there is no hurry. Julie Fowlis took her time rocking her babies to sleep etc, eventually delivering an album that takes a front-ranking place in her catalogue.
© Walkin' T:-)M


Colleen Raney "Here This Is Home"
Little Sea Records, 2013

»Home is a sense of things that can be carried anywhere. The Irish did that very well through music, song, and poetry. The music is home, it is our living legacy.«

www.colleenraney.com

Vincent Woods' poem "Sanctuary" gave rise to the title of Colleen Raney's already 4th album, "Here This is Home". That fits nicely like a motto in a grand selection of traditional Irish songs: "The Boys of Mullaghbawn", "The Granemore Hare", "The Nightingale" ... Moreover, the album kicks off with a catchy "Canadee-I-O" in the Nic Jones version, and some Scots songs are there as well. Colleen Raney is a traditional singer of great talent from the US Northwest, the area can boast of a thriving Irish music community, trying to tread in the footsteps of the great Irish singers past and present. And Colleen does a brilliant job here, both passionate and sensitive. Production-wise it was a great help that Lúnasa’s bass player Trevor Hutchinson[52] was producing and employing helping hands such as Johnny B. Connolly (button accordion),[31] Aaron Jones (bouzouki)[47] or Dave Hingerty (percussion). The corporate effort results in an up-to-date production of several vintage songs that unites the ancient Celtic bard, the broadside street singer and the contemporary stage performer.
© Walkin' T:-)M


CrossHarbour "CrossHarbour"
Higlet Recordings, 2014

Artist Video

www.crossharbourmusic.com

Crossharbour is an overground tram stop in London, depicted on the album's cover with St. Paul's Cathedral in the background across the River Thames. The quintet CrossHarbour (with a capital 'H') rose out of London's thriving traditional Irish music scene and got together in 2012 to play in the Cultural Village of the London Olympics. You might have heard of fiddler Sam Proctor, who has a critically acclaimed solo album under his belt, or caught up with guitarist Philippe Barnes and his band All Jigged Out.[37] Flutist Órlaith McAuliffe is a multiple All Ireland Champion, bódhran player Tad Sargent is a sought-after session player, Rosie Hodgson eventually had been a finalist in the 2013 BBC Radio 2 Young Folk Awards. Only recently the singer/songwriter from West Sussex released a 4 track EP, "Somewhere North," drawing on both folk music and literature. Here she oscillates between her original "Need Not Declare" and the traditional Irish "Blackwaterside," with "Wedding Dress" delivering a catchy ear opener for all things to come.
It is the instrumental music that defines the CrossHarbour sound. Clearly inspired by Irish groups such as LAU[50] or At First Light,[46] CrossHarbour create up-to-date 21st century roots music. McAuliffe, Proctor and Barnes are prolific composers (e.g. listen to the hilarity of Voldemort’s Reel"), their tunes sandwiched (or vice versa) with a rare traditional such as "O'Connell's Trip to Parliament" and novelties from the likes of Joe Liddy, Niall Vallely, Michael Rooney or Gordon Duncan. Experimentation never goes too far, pure trad fans will be satisfied though not sedated, a young audience fed on a diet of fiery and powerful performances will be more than happy. Something to look out for!
© Walkin' T:-)M


Fíodhna Gardiner "Air Time"
Ru Recordings, 2014

www.fiodhnagardiner.com

The low whistle is the big baby of the traditional tin whistle/pennywhistle, distinguished by its larger size, lower pitch and a more breathy, flute-like sound. Bernard Overton is credited with manufacturing the first instrument in the early 1970s, which he made for Finbar Furey. Since Riverdance the low whistle is a respected instrument in its own right, often used for the playing of slow airs due to its enthralling and emotive sound. It has found a new trailblazer in Irish low whistle player Fíodhna Gardiner-Hyland who has featured on numerous film, television and radio programmes; while living in the United Arab Emirates, Fíodhna played whistles with the group Inis Oirr (2004-2011). These days she lives in the vicinity of the twin towns Killaloe/Ballina (Co. Clare/Tipperary) and is part of the committee organizing the Kincora Traditional Music Weekend.
Her debut solo album is exclusively dedicated to Airs for the Low Whistle, both traditional Irish ("An raibh tu ar an gCarraig", "Amhran na Leabhair", "Easter Snow" played over the closing credits of the Irish movie "The Lord’s Burning Rain") and (more or less) contemporary Scottish (fiddler James Scott Skinner's "Hector the Hero", bagpiper Ailean Nicholson's "The Dreams of Old Pa Fogerty") as well as newly composed airs. Fíodhna penned "Gra mo Chroi" for her husband and "The Boy from Aughdarra" for her father, the well-known acordionist Bobby Gardiner (b. 1939), who once played with the Kilfenora Céilí Band[39] before building a musical career on his own terms.[7][43]
Fíodhna is playing her A/Bb whistles with much heart and soul. You want to lean back, close your eyes and expose yourself to the images forming in your head. Fíodhna is joined on "Air Time" by her father, and furthermore supported by the stellar cast of Seamie O'Dowd (guitar), Mairtín Ó Connor (button accordion),[39] Garry Ó Bhriain (piano, harpsichord) and Liam Kelly (flute).[51] A special treat is the employment of Dervish singer Cathy Jordan[48] on three tracks, the traditional Irish "An Buachaillin Donn" (Little Brown-Haired Boy), Andy Irvine's "The Mall of Lismore" and Sean Ó Riada's "The Banks of Sullane". Fíodhna and Cathy take turns, but also trail along in harmony. Simply great!
© Walkin' T:-)M


Sinéad Healy "Shuffle the Deck"
Own label, 2014

Artist Video

www.sineadhealy.com

The piano accordion is a physically large instrument with a bad reputation. Especially in traditional Irish music it seems. However, there are no bad instruments, in the hands of a good player the piano accordion (or the bodhrán, the guitar, the banjo ...) can be an ear-opener. I just remind you of Alan Kelly,[46] Sandy Brechin[44] or Karen Tweed,[24] and here is a young sensitive performer from Castlebar in Co. Mayo, who isn't slaughtering the music but giving the tunes the necessary oomph.
Sinéad Healy has won the All-Ireland title on the piano accordion at the Fleadh Cheoil na hÉireann in 2007. She had been featured on "The Bunch of Keys - Traditional Irish Music on Piano Accordion", and now presents her debut album, where her deligtful perfromamce is backed up by guitarist Tim Edey,[52] bass player Martin Brunsden and percussionist Jim Higgins. Sinéad's siblings add subtle touches on keyboards, mandolin and fiddle.[50] Sinéad Healy's selection has a lot to offer: some Cape Breton Reels are followed by Jean Luc-Thomas's "French Waltz" and Michael Ferrie's "Mazurka". There are tunes composed by Jerry Holland, Maire Breathnach, Padraig Rynne, Tommy Peoples, three consecutive reels from the fingers and keys of Scottish piano accordionist Phil Cunningham,[53] and last but not least the album's fine title track, "Shuffle the Deck," written by Sinéad herself.
Time flies, and when the last dance comes with the fitting "Parting Glass" you wish you had never heard anything bad about the piano accordion and could go back and revisit track #1. Thanks to modern technology you can do so and listen again and again.
© Walkin' T:-)M


Rattle on the Stovepipe "Old Virginia"
WildGoose, 2014

»I said farewell to England, bid Liverpool goodbye. I sailed off to Americay me fortune for to try. I landed in Virginia as the clouds of war came down ...«

Artist Video

www.petecooper.com

Dave Arthur's traditional-sounding song "Young and Venturesome" has been inspired by Englishmen travelling to the US and participating in battles such as The Alamo (1836) and the Little Big Horn (1876). Now here's some Englishmen travelling across the waters musically to explore traditional American music and the alleyways these traditions have been evolved from British (and other European and non-European) music, such as the (hob)goblin of the British Isles became the Bogle Bo for Afro-Americans. "Chinquapin Hunting" meets "Bonnie Prince Charlie," "Santa Anna's Retreat" versus "Coleman's March". Tunes such as "Shove the Pig's Foot a Little Further in the Fire" have been collected several times in the Appalachian Mountains. Moreover, Dave put a tune to radical poet Don West's "Bill Dalton's Wife" (Don being the father of North Georgian folk singer-songwriter Hedy West).[46] The Canadian woodsman's tongue-twister "Rattle on the Stovepipe" became the group's name, eventually recorded.[41]
Way back in the 1960/70s Dave (vocals, 5-string banjo, guitar, melodeon) had recorded albums of British music for Topic Records and edited English Dance and Song, the English Folk Dance and Song Society magazine. He fell in love with old-time music, brought in Pete Cooper (vocals, fiddle, viola)[22] and recently Dan Stewart (guitar, 5-string banjo, mandolin) who replaced original band member Chris Moreton. Without renouncing themselves, Rattle on the Stovepipe's sound is as American as you can get. Dave's vocals display a raw edge, his rendition a sense of humour, while the trio's music is delicate and at ease.
© Walkin' T:-)M


Triakel "Thyra"
Westpark Music, 2014

German CD Review

Swedish CD Review

Artist Video

www.triakel.se

The term Triakel denotes a traditional Swedish remedy against almost everything, and the Swedish folk band that took up the name twenty years ago is a cure for the haunted soul.[29] Emma Härdelin's (Garmarna)[16] crystal-clear and honest vocals are only sparsely supported by Kjell-Erik Eriksson's (Hoven Droven)[48] fiddle and Janne Strömstedt's (Ulrika Bodén Band)[53] harmonium. After dealing with the songs of Ulrika Lindholm three years ago,[44] Triakel's 6th album is dedicated to Thyra Karlsson (1912-2001). The folk singer from Alanäs in north Jämtland accompanied herself on the cittra (a zither-like instrument tuned in open chords) and collected numerous folk songs and tunes (today in the Svenkst Visarkiv). Thyra never recorded, and it was to Emma, who grew up in Jämtland, to choose 14 songs from the rich repertoire, including sad laments and merry songs, children's rhymes and Christian psalms. "Skomakarvisa," one of the trio's favourite songs for example, is about a young woman rejecting all marriage proposals to stay single; the reinterpreted, unrequited love song "Tusen Tankar" from the first Triakel album still sends shivers down the spine; on the other hand "Amerikaresan" is a cheerful parting song. The sleeve notes feature the song lyrics as well as a short introduction from Thyra's youngest daughter in Swedish, English and German.
© Walkin' T:-)M


Phønix "nu"
GO' Danish Folk Music, 2014

Artist Video

www.phonixfolk.dk

Probably no other Danish roots band has brought the traditional song and dance music of the small Scandinavian country sandwiched between the North Sea and the Baltic Sea to world-wide attention as Phønix, who is rising from the ashes time and time again.[39] Performing since 1990 and exhibiting a solid line-up for roughly a decade, the award-winning quartet twiddle and tinker now (nu means by now, at present) with harmonies, synths and piano, creating a groovy, percussive sound (Jesper Falch), which is refined by Anja Præst's[53] clarinet and Jesper Vinther's accordion. Karin Mose[47] (vocals and keys) accounts for folk songs from her native Funen, the third-largest island and central part of the country.
Fairy-tale author H.C. Andersen was once asked what Funen (Danish, Fin) means and he answered with poetic licence, fin (fine). Such is the music of Phønix, a finespun tapestry of traditional material resulting in something novel and different, something bigger and better.
© Walkin' T:-)M


Ben Rogers "Lost Stories: Volume One"
Own label, 2013

»My great-great granduncle, George Rogers, was on a hunting trip in eastern Kansas with a friend in the winter of 1875. After trailing and driving deer for five days they still hadn’t fired a single shot. But while canoeing down the Wakarusa River George spotted something hopeful through the brush along the riverbank. He took aim and fired. It was a good, clean shot and through the slow clearing smoke, he could see the foliage shake and spread beneath weight of the kill. He and his partner paddled ashore hurriedly to collect their prize but as they drew near, their minds filled with horror at the sight they beheld. A young squaw no more than sixteen, lay drenched in blood, slain by the bullet from George’s rifle. He had fatefully mistaken her buckskin garments for that of a living deer and shot her through the heart, killing her instantly. What he did not know then was that his victim was the princess of the Osage Indian tribe and when they finally tracked him down he was presented before the entire village, stripped, and then skinned alive. When my grandfather told me that story, he concluded by saying: Always know what you’re after, otherwise you might end up dead.«

Artist Video

www.benrogersmusic.com
The Coen Brothers' feature film "Inside Llewyn Davis"[53] may have sparked some interest in musically plain folk songs with their terrific and often complex stories, and Vancouver's Ben Rogers is the born storyteller, recounting tales of love, betrayal and murder, humerous ditties and sad laments. Ben Rogers dropped out of both art and film school, he claims his true teachers are people who have stories to tell. Folks like Woody Guthrie or Leadbelly, for example, and Rogers empathises sonically with the early Dylan of his Greenwich Village days with acoustic guitar, harmonica and rough-and-ready vocals.
Perhaps he doesn't know what he's after as well, but he's sure where he stands right now: I’m just not finished with the past and I’m in no hurry to catch up, Rogers muses. I’m wandering along dormant railroads strangled by tall weeds in a time long ago. I’m lost somewhere along the Wakarusa River, but instead of a rifle in my hands, I've got a Gibson guitar with a big hole in it and aside from a few cuts and scrapes, I still have most of my skin to speak of.
© Walkin' T:-)M

Ray Cooper "Palace of Tears"
Westpark Music, 2014

Artist Video

www.raycooper.org
I really love Ray Cooper's debut solo album "Tales of Love, War and Death by Hanging",[42] shortly after him leaving the Oysterband,[53] and I also enjoyed his minimalistic live set where he simply switched between acoustic guitar and cello.[51] So I was really determined to like his follow-up album. It is not that I don't enjoy it, but it is a different kind of beast, so to speak. Whereas the "Tales" were a raw, low-budget production that jumped right into your face, thanks to a couple of potential earworms, "Palace of Tears" then is a collection of polished, moody ballads, only sparsely orchestrated with Ray playing guitar, cello, harmonica (and kantele) and Gustav Andersson's piano. Lyrically Ray Cooper moved forward into the 20th/21st century, and the insignificant temporal distance makes "Palace of Tears" more melancholic and bittersweet than the historical "Tales". The title song is evoking memories of the former East German Republic and the checkpoint in Friedrichstrasse nicknamed Tränenpalast; "A Line in the Sand" is denouncing the oil wars in the Middle East. Ray is philosophising about his Scottish roots ("Sleeping Giants"), but is particularly occupied with his adopted country, since more than a decade he is living in the Swedish hinterland of Malmköping.
I said I wanted to like this album very badly. And yes I do. It takes repeated listening, but the strength of the album and its songs is that they are able to convince and satisfy then.
© Walkin' T:-)M

The Red Dirt Skinners "Sinking the Mary Rose"
Own label, 2013

Artist Video

www.reddirtskinners.com

Sarah (vocals, saxophones, harmonica) and Rob Skinner (vocals, guitars, banjo, bass, drums) are an award winning musical couple, crossing different genre like Blues, Country, Songwriter as well as Gospel. For their third album they recorded 8 original songs and 2 cover versions.
They start off with “A song about you”, a terrific Blues rock brought forward with guitar, bass, drums and sax, Rob sings the leading voice and Sarah supports him with backing vocals. Rob grabs the banjo to play the “Browns Ferry Blues” by the Delmore Brothers, beautiful singing together and the saxophone take their turns, while the pace is steadily accelerating. Sarah sings the hauntingly beautiful slow Blues “Just 18” with much devotion and Texas Country musician Stoney LaRue’s “Idabel Blues” is brought forward by Rob’s powerful voice. Another highlight is “Mr Landlord”, a brilliant Gospel Blues featuring guitar, banjo, saxophone and breath-taking singing together of Sarah and Rob. Guitar and sax compete on "Not the Mary Rose", another great Blues rock with Sarah's passionate singing.
The new album of the Skinners will certainly tie to their success and make them one of the leading acts in the British Country Blues scene.
© Adolf „gorhand“ Goriup


C. Daniel Boling "Sleeping Dogs"
Berkalin Records, 2013

Artist Video

www.danielboling.com

Albuquerque based singer/songwriter C. Daniel Boling recorded 13 original songs for his sixth album together with producer Jono Manson and a few guest musicians introducing them almost one by one.
Daniel starts off on his banjitar, singing the rhythmic “Moderation”, accompanied by Justin Branford on upright bass, Auge Hays on Dobro, backing vocals and Andy Prim’s percussion pace. Following up are some hush songs like the sad guitar ballad “Unraveled” with Deborah Barbe on cello and John Egenes on Weissenborn guitar or the melancholic title song, introducing Ben Wright on second guitar and Jono Manson’s second voice. One of my favourites is the New Mexican style Blues “Doesn’t get better than this”, two Dobros, mandolin and harmonica (Egenes and Hays), guitar and a duet with Texas Singer Andi Renfree make you swing along. Other highlights are “Hooked”, a light-hearted song about love with Freebo playing a duet on tuba with Daniel on banjitar, or “Someday”, a protest song featuring an eight voices gospel choir, upright bass and banjitar.
Boling has a beautiful singing voice and is a fine guitar player and thanks to the great guest musicians and singers the recording is full of perfectly stable music.
© Adolf „gorhand“ Goriup


Jenna "Hitchhiker"
Jenna Records, 2013

Artist Video

www.jennawitts.com

North Devon singer/songwriter Jenna Witts (vocals, acoustic guitar, piano, keyboards) presents her third album with ten new original songs, produced, recorded and mixed by Peter Bruntnell (bass, electric and slide guitar). Mark Prescott on violin, Ken Kerslake on drums and guest drummer Brendon Taylor joined the recordings.
Jenna has a warm and powerful voice and she kicks off with “Stranger”, a Country Blues in moderate pace with beautiful slide guitar. The title song is an up-Beat Rock song with twangy e-guitar whereas she tenderly sings “English rose”, a melancholic piano ballad with acoustic guitar and some fine e-guitar sounds. Taylor grabs the drum sticks for “Halflight” and creates a fine rhythm for the lovely Americana ballad and the violin accompanies the hush “Sly whispers”. Another highlight is “Blackjack, whisky and gin”, Country Blues Rock with fine slides, stomping drum beat and passionate singing.
Jenna’s new album features American as well as English Folk, her charming singing and the simple but effective arrangements are perfectly in line with her diversified songs.
© Adolf „gorhand“ Goriup


Cara Luft "Darlingford"
Blue Case Tunes, 2012

Artist Video

www.caraluft.com

Canadian singer/songwriter Cara Luft (vocals, acoustic guitar, 5 string banjo, percussion) recorded her new solo album in different locations like churches, hotel rooms, living rooms and studios across Canada, the United Kingdom and the USA. A bunch of excellent musicians joined her on 9 original songs, 2 traditionals and 2 cover versions.
Cara sings “Only love can save me”, an original melancholic Americana ballad, with much emotion, accompanied by her semi-acoustic band featuring upright bass, hurdy gurdy, e-guitar, pedal steel, violin and mandolin. Mike Scott (Waterboys) wrote the dramatic folk song “Bring ‘em all in”, Canadian singer JP Hoe sings a brilliant duet with Cara accompanied by Andrew Downing on upright bass, Mark Mariash on drums and two electric guitars, Damon Mitchell and Scott Poley. “Dallaire” is a committed folk ballad about the Rwandan genocide featuring a string quartette and “Off my mind” is a stomping Blues introducing Lloyd Peterson on snare drum and lap steel. Cara plays the banjo on “Portland town” by the late American songwriter Derroll Adams, upright bass, footsteps, percussion, violin and hambone create the intoxicating pace. Co-producer Andrew McCrorie-Shand plays hurdy gurdy on the traditional “He moved through the fair”, Cara sings and plays acoustic guitar and organ bass pedals, a terrific version of this classic folk song. Another highlight is the final song “Charged!”, a live performance by Cara on acoustic and Damon on electric guitar, Cara sings a hilarious story about crossing the American border and the live studio audience sings along.
Cara Luft was a founding member of The Wailin’ Jennys, Darlingford is her third solo album and a master piece of song writing, great musicians and singers create an inspiring Americana sound.
© Adolf „gorhand“ Goriup


Sara Petite "Circus Comes to Town"
Own label, 2012

Artist Video

www.sarapetite.com

San Diego based singer/songwriter Sara Petite recorded her fourth album with 11 original songs with a bunch of excellent local musicians: David „Ro“ Rorick on bass, Rick Lonow on drums, Bob Britt on electric guitar, Ethan Ballinger on acoustic guitar and mandolin as well as Harry Stinson‘s harmony vocals accompany “little Sara” on all tracks, some punctual guest appearances accomplish the line-up.
Sara can’t still smell her ”Perfume”, a rocking Country Blues, or wants to be “Movin’ on”, an up-beat Rockabilly song showcasing Nate Dugger’s brilliant guitar playing. “Barbwire” is a beautiful Country Blues ballad co-written with John Eddie and introducing Dennis Wade on organ and the title track an enchanting Americana, fine drum rhythm, bass and acoustic guitar create the pace, Walt Scott on piano and Britt on e-guitar accompany Sara’s great singing. On the Country Rock “The master” Sara sings a duet with Jennifer Morrison and on “Someday I’m gonna fly” Jennifer sings the hauntingly beautiful harmony voice and Rob McNelly rocks the guitar.
Sara is a fine singer with a slightly squawking and hoarse voice matching perfectly her Country songs and the band creates the intoxicating sound, music from the far west.
© Adolf „gorhand“ Goriup


Quique Gómez & Luca Giordano
"Chicago '3011 Studios' Session"
GG Records, 2012

www.quiquegomez.com

Italian guitarist Luca Giordano teamed up with Spanish harp player Quique Gómez to record their tribute to classic Chicago Blues, 6 original songs, 6 cover versions and a final jam session. The line-up features Harlan Terson on bass, Marty Binder on drums, Ariyo on piano as well as some special guests from the Chicago Blues scene; both Quique and Luca add their vocals.
The five piece line-up plays „Blow my blues away“, an original song by the two brilliant musicians showcasing great playing together of harp, guitar and piano and driven by the moderate pace of bass and drums. On “you’re fine” they accelerate the pace and Quique and Luca take their turns to drop in stunning solos. Another great original song is “Travellin’ man”, Luca and Ariyo taking the lead and Quique adds a brilliant harp solo. Jimmy Burns sings “That’s life” (K. Gordon/D.K. Thompson), a brilliant Blues version of the famous Sinatra song and Billy Branch adds a great harp solo on Jackie Brenston’s up-Beat Jive “Rocket 88”. The album is dedicated to Eddie C. Campbell, who himself sings and plays guitar on “Eddie’s shuffle”, an intoxicating up-beat track. As a bonus track they included “Jammin’ with friends”, a session with Campbell, Burns, Bob Stroger, Pete Galanis and Breezy, 4 additional guitars, vocals and bass.
Quique and Luca brought together some of the finest Chicago Blues musicians and recorded more than one hour of breath-taking studio session music, a must for friends of the genre.
© Adolf „gorhand“ Goriup


Lake Street Dive "Bad Self-portrait"
Signature Sounds Recordings, 2014

Artist Video

www.lakestreetdive.com

Lake Street Dive is a quarter in Minneapolis, hometown of Mike “McDuck” Olson (guitar, trumpet, trombone, piano, vocals), together with Nashville borne Rachael Price (lead vocals), Bridget Kearney (bass, piano, vocals) from Iowa and Mike Calabrese (drums, percussions, vocals) from Philadelphia he launched the band in Boston. For their third album they invited Sam Kassirer (piano, organ) and recorded 11 original songs. Kearney wrote 6, Olson and Calabrese each with 3 tracks.
They start off with the title song, a vocal dominated Pop Rock song by Kearney, showcasing Rachael’s powerful voice backed up by the band’s beautiful harmony singing. Calabrese’s “Stop your crying” is a 60ies Pop Beat song, followed by another Kearney track, the beautiful slow Blues “Better than” with Olson adding some fine trumpet sounds. Olson wrote the up-beat R&B “You go down smooth” and spiced it up with mighty brass sounds or the intoxicating Motown Soul track “Use me up”. Another highlight is Calabrese’s “What about me”, a rocking Gospel Blues featuring wicked guitar playing and breath taking vocals.
The new album of Lake Street Dive is a collection of songs with stunning vocal power, reminding me of Manhattan Transfer, diversified styles and great arrangements.

Download a sampler @ NoiseTrade!

© Adolf „gorhand“ Goriup

House Jumpers "Jump-Dance-Listen and Have a Ball!"
House Rent Records, 2012

www.housejumpers-band.com

Cathy (vocals) and Marvin (guitars, vocals, piano, tambourine) Hunt, Jason Jones (upright bass, vocals), Paul Matthews (drums, percussion) and Tom Wagner (guitar, vocals) are the House Jumpers – not to confound with the spider thing – a Rockabilly band from Lawrence, Kansas. They recorded 7 original songs and 6 cover versions of classic Rockabilly songs to make you jump, dance and listen.
Rockabilly arose after WWII, a joyful and peaceful age, when people came to the dance halls to socialize, have fun and dance to the music of BB King, Eddie “Guitar Slim” Jones and the likes. BB King sang “Jump with you” and so does Cathy to the intoxicating pace of drums, bass, piano and guitar, Marvin adds some fine guitar solos and Todd Wilkinson on saxophone and Tommy Johnson Jr. on trumpet chip in with terrific brass sounds. Even though Guitar Slim sadly passed away in 59 and I was borne in 60 his “Certainly all” is one of my all times favourites since my late teenage years. Cathy and Marvin wrote the up-Beat title song, you can see fly the loose skirts of the girls while dancing the Rockabilly, and “Chicken ain’t nothing but a bird” is a swinging Blues with Ed and Lori Brunt joining in to sing a brilliant see-saw with the guys. Then Cathy sings the beautiful ballad “Esplanade” with her crystal clear voice and Marvin blends in his lovely guitar playing. I got to know Johnny Guitar Watson in the late 70s with his A real mother for ya, about 20 years before he wrote “I just wants me some love”, a gorgeous Blues ballad showcasing a duet by Cathy and Marvin, great guitar playing and introducing Chris Stringer on organ. Another highlight is Marvin’s “We got a thing”, swinging Rock’n’roll that won’t let anyone sit back.
Hopefully we’ll hear some more music by these first class musicians, they create a stunning groove and the vocals are breath-taking. You certainly don’t need a house jumper (hasarius adansoni) to start jumping if you listen to the House Jumpers.
© Adolf „gorhand“ Goriup



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