FolkWorld #56 03/2015

CD & DVD Reviews

Sheila MacDonald "Tangle of Trees"
Own label, 2014

www.myspace.com

This album of New England singer/songwriter Sheila MacDonald features primarily self-penned songs, with musical arrangements fully focussed on her pleasant calm voice and guitar playing (the few other guest musicians providing some additional backing generally remain in the background). While the music is pleasant enough, I did struggle to get in to this album - for me it lacked variation, with the songs all sounding very similar.
© Michael Moll


Bernie Phaid "Siol"
Own label, 2014

berniephaid.com

This young Irish singer has a beautiful voice indeed. "Siol" presents a mix of Irish Gaelic and English songs, largely from the Irish trad reprertoire. To record this album, Bernie travelled to the Appalachian hills, gathering a wide range of high profile guest musicians from both sides of the pond (including Donogh Hennessy, Eamon Murray, Steve Cooney and Winifred Horan). While the core of the music is in the Irish tradition, some of the songs have - just a gentle and attractive touch - of American influences, such as Country or Blues. Overall a fresh album of Irish songs, with a gentle and warm feel to it.
© Michael Moll


La Mal Coiffee "L'embelinaire"
Sirventes, 2014

www.lamalcoiffee.com

An exciting and different interpretation of Occitan folk music - La Mal Coiffee is an all-female a capella band, breathing new life into this old language. Hailing from Languedoc in Southern France, one of the regions where Occitan traditions are still alive, the five ladies primarily sing vocal arrangements by the Occitan poet Joan-Maria Petit.
The album is all a capella, with only a bit of percussion on some tracks, blending Southern French traditions with world music. With superb harmony singing, beautiful voices and sensous melodies, this album is a real delight.
© Michael Moll


Pigeons on the Gate "The shift"
Edition Ja, 2014

www.pigeonsonthegate.com

From Switzerland comes this Irish Folk/Rock/Pop band around singer/songerwriter Roger O'Dubler. For me, the instrumental arrangements - usually fiddle or whistle backed by a powerful rock line-up - are most commendable in this band. The singing, in my opinion, lacks somewhat in depth; the songs being firmly in the folk pop arena. The songs are largely written by Roger O'Dubler, with the exception of a version of "Molly Malone"; some of the tunes are traditional. They will probably have a strong fan base in their home country, yet I am not fully convinced.
© Michael Moll


Anna Shannon "A celebration of old England"
Wild Goose, 2014

www.annashannon.co.uk

"A celebration of old England" depicts craftsmen and other folk of the old days, in a romanticised (or rustic as Anna Shannong describes it) way. Anna Shannon, from Yorkshire where she lives in a caravan at the edge of the North Yorkshire Moors, has written and composed the songs on the album in traditional style. Only one song is not self-penned: the traditional "Gaudete". All music - guitars, fiddle, soprano sax, recorders, chanter and more - has been played in by the singer. The songs take the listener back into the past, to the world of travelling stallions, hunters, showmen with dancing bears, travellers, blacksmiths and poachers.
© Michael Moll


The Young Folk "The little battle"
Pixie Pace Records, 2014

Artist Video

www.theyoungfolk.com

The album sleeve notes do not give much indication of who the Young Folk are (other than that songs are written by an Anthony Furey) - so let the music speak for itself.
The Young Folk play highly appealing contemporary folk pop with some bluegrass and other influences (Alt Folk as they call it). They have a charismatic singer, and their musical arrangements are attractive featuring a strong rythm section (with guitars, bass and drums) and mandolin, piano and/or fiddle regularly sweeping in. This their debut album is a hit, and defining already a distinctive Young Folk sound.
So who are they? As said, the sleeve notes don't give much away, and even from their website you can only gleam that they are Irish, and have become pretty popular on their home turf. Only further googling reveals that the band members are indeed quite young, and are Anthony Furey, vocals/guitar, Tony McLoughlin, bass/mandolin, Paul Butler, piano/vocals, and Karl Hand, drums/percussion - and the album also featurs fiddler Karen Hickey. And singer Anthony Furey is related to the famous Fureys, with George Furey being his dad.
They have been compared by other reviewers to the Waterboys or Mumford and Sons. I was more reminded of Rock Salt & Nails and Speranza. I like this album a lot, and am looking forward to future works from this promising band.
© Michael Moll


The Willows "Amidst Fiery Skies"
Elk Records, 2014

www.thewillowsband.com

This Cambridge based band successfully blends original English and Celtic folk with Americana influences. This is their second album, following a celebrated first one. The music is built around the attractive lead vocals of Jade Rhiannon. The band creates a full sound, with strong arrangements featuring guitar, dobro (Ben Savage), guitar/banjo/fiddle (Cliff Ward), violin (Prue Ward) and drums/percussion/bodhran. The material is predominantly self penned, along with the traditional "Maid of Culmore" transporting the listener to Irish trad, and contemporary songs such as beautiful version of Bill Staines' "Roseville Fair" or Utah Phillip's "Goodnight loving trail".
There have been quite a few Americana influenced albums from the British Isles recently. For me this has to be one of the strongest; an album that keeps a distinctive identity steeped on this side of the Atlantic.
© Michael Moll


Moxie "Planted"
Lyte Records, 2014

Artist Video

moxiemuso.com

Moxie has planted plenty of improvisation into their music. The seed of the music is Irish trad, but this is improvised and blended with all sorts of styles - Jazz, Rock, Bluegrass, World. The album is full of creativity, and is just floating through its tracks. It can be though quite intense to listen to.
You will not find any details or names of musicians in the sparse CD sleeve notes (the only names in there are for thank you's)- is this a sign of the digital times that CD sleeve notes do not feature any detail?
The band's website reveals that the band is made up of two button accordionists (Darren Roche and Jos Kelly), two banjo /guitar players (Ted Kelly and Cillian Doheny), and a percussionist (Paddy Hazelton). The young Irish band labels its music as 21st century Irish music, and new and fresh is their music indeed. An exciting album.
© Michael Moll


Rue du Canal "1er Etage"
Den Appel, 2013

Rue du Canal

Bringing together musicians from France, Ireland and Belgium, Rue du Canal play enjoyable swinging acoustic music. It is very much continental in style - there's a strong Musette element, and the music ventures into Celtic, Klezmer and traditional French styles. Most of the tunes are composed by the band's French accordionist Serge Desaunay. He is joined by Belgian guitarist/oud player Gaspard Vanardois, Irish mandolinist Ray Barron and Irish fiddler Kieran Fahy who is based in Belgium. This is a lovely relaxing album of good quality music.
© Michael Moll


Unavantaluna "Isula Ranni"
Felmay, 2014

unavantaluna.com

Another album that is very sparse on the sleeve notes - which only indicate that this is an album by a Sicilian band, and give the titles of the tracks. The net reveals that one of the two CDs in the box - Ritta (right) - features solely traditional Sicilian material, while the other - Manca (left) - presents original material composed by the band. Despite that, I found that both CDs sound very similar in style, both having Sicilian traditions as their backbone, with influences from other parts of the mediterranean.
The band's third release features also their most successful song, "Isuli", which apparently won in three categories of the Andrea Parodi Prize, dedicated to World Music: best song, best lyrics and best arrangement. The music on both CDs is dominated by the doleful singing of Francesco Salvadore; instruments include sicilian bagpipe, friscaletto (rural flute), lute, guitars, frame drums and percussion.
The music is definitely of good quality, yet I find that it can get a bit much of the same for me - even more so as a double album.
© Michael Moll


Greg Russell & Ciaran Algar "The Call"
Fellside, 2014

German CD Review

Artist Video

www.russellalgar.co.uk

A young and very promising English folk duo, Greg Russell and Ciaran Algar have won already twice a BBC Folk Award (in 2013 and 2014) – and that before they have release this their second album. The songs are powerful and very well interpreted with Greg’s great vocals. It is an excellent choice of traditional songs, songs written by contemporary songwriters, and by Ciaran. They are the sort of songs that have stories to tell – be it about a work house or the pits – and Greg really does bring them to life. Ciaran is a very gifted fiddle player, making him the perfect musical partner to Greg. The three energetic sets of tunes show that the two are superb also as an instrumental duo.
The songs and music are all brilliantly crafted, and have a maturity that belies the musicians’ young age. Over the last year there have been a number of very strong albums from new English folk talents, yet Greg Russell and Ciaran Algar’s second album is without any doubt one of the really outstanding releases.
© Michael Moll


Bube Dame König "Traumländlein"
CPL Music, 2014

German CD Review

www.neue-volkslieder.de

A wonderful album from an Eastern German trio, featuring a mixture of traditional German songs and newly written songs in traditional style. German traditions are at the heart of the album, yet there are strong Celtic and medieval influences in the music. Bube Dame König features the beautiful, gentle and soft singing of Juliane Weinelt and Jan Oelmann – and the trio do not shy away from German classic folk songs such as “Kein Schöner Land” and “Nun will der Lenz uns grüßen”, turning them into the most beautiful recordings. The newly written songs take traditional German themes from a fairy tale world – giants, river mermaids and forest wardens – and some of the songs have borrowed melodies from traditional Celtic songs (Bonnie Ship the Diamond, Road to Clady, Health to the Company). Instrumentally, the music is particularly shaped by the hurdgy gurdy played by Till Uhlmann (of Ulman fame), with the others of the trio contributing flute, guitar and violin.
This is a brilliant album of German folk music, which will appeal German and international audiences alike. Top marks.
© Michael Moll


Noel McLoughlin & Ger O’Donnell "Christmas in Ireland"
ARC Music, 2014

FolkWorld Xmas

German CD Review

www.noelmcloughlin.net

Well seasoned Irish singer Noel McLoughlin has come out with another Celtic Christmas album – apparently his second for ARC Music. The quality of this Christmas album ranges between uninspiring easy listening and some decent Celtic style singing. The more Celtic/Irish influenced the songs are, the better is their interpretation. Highlights of the album are the World War I song “Christmas in the trenches”, “The Maid who sold her barley” and “God Rest ye Merry Gentlemen”. The most cringeworthy moment (and there are a few cringeworthy tracks) has to be “Oh Christmas Tree” featuring Greek cliché bouzouki sounds.
© Michael Moll


FatDog "New Found Land"
World Music Network, 2014

www.worldmusic.net/fatdog

Artist Video

There have been a few bands combining very successfully Scandinavian folk with jazz, wonderfully adding brass instruments to traditional Scandinavian tunes and instruments – most notably Chateu Neuf Spelmanslag and Hoven Droven. Now you can add to this list another band: FatDog.
FatDog is the amalgamation of two Sweden based trios: Celtic-Scandinavian folk trio Doggerland and jazz trio Fattigfolket – hence FatDog. Excitingly, FatDog features saxophone and trumpet, as well as hurdy gurdy, clarinet, concertina, guitar, cittern and bass. Tunes are the real strength of this band; steeped in Scandinavian traditions, they innovatively interpreted with a wonderful groovy twist, yet staying true to their traditions. In the songs, you somewhat feel less of the advantages of the collaboration of the two trios, with songs in English, Swedish and French. Overall a very well perfected fusion of Nordic Folk and Jazz, with a slight Celtic dimension to it.
© Michael Moll


Tre Martelli & Gianna Coscia "Ansema - FolkJazz"
Felmay, 2014

www.tremartelli.it

After FatDog (see review above), here we have another collaboration of folk and jazz, this time from Southern Europe: Ansema brings together Italian traditional folk band Tre Martelli and jazz accordionist Gianni Coscia. The musical focus on this album is clearly on Italian folk traditions, yet the addition of Gianni Coscia makes the music more free flowing and instrumental. Some tracks on the album were recorded live. The songs feature mainly the baritone of Vincenzo Marchelli, with Elisabetta Gagliardi taking two of the songs.
Some bits on the album I found a bit shrill, and in some of the tracks I thought the jazz angle was a bit weak, yet there are plenty of tracks on this album that I enjoyed a lot.
© Michael Moll


Hamburg Klezmer Band "Tunklgold"
Da Casa Records, 2014

www.hamburgklezmerband.com

This superb German klezmer band has created with Tunklgold a lively and varied album of Eastern European world music of Klezmer and Jiddish song traditions. On the vocal front, the band offers the attractive female voice of Kateryna Ostrovska as well as the warm male voice of Christian Dawid. These attractive vocals are combined with an appealing instrumental line-up – featuring accordion, violin, tuba, flute and the quintessential clarinet (as well as the welcome guest appearances of trombone and percussion). The material on the album is a mix of traditional songs and tunes and songs from theatre and film productions.
This is a wonderful album that makes the feet tap and the body swing along to the music. A special mention has to be made of the wonderful artwork of the CD cover and booklet with paintings from Pavel Ehrlich.
© Michael Moll


No Crows "Waiting for the Tide"
Crows Records, 2014

Artist Video

www.nocrows.net

This is a very varied (or, depending on your persuasion, inconsistent) album. The Irish band describes itself on its website as “Acoustic Music from Ireland with Gypsy & Mediterranean flavours”. Most of the tracks are compositions of band members. Some are steeped in Irish traditions, others are waltzes with a pleasant Eastern European gipsy swing to them; there are contemporary English songs, some with a slight country influence – and then, just when you thought you knew what to expect (or not to expect) from this band, track 9 and 10 feature Spanish songs and melodies. It does feel at times like you are on a different album, yet overall most tracks make agreeable listening.
© Michael Moll


Jim Boyes "Sensations of a wound"
No Masters, 2015

This is a well crafted album with a captivating story, and it does demand proper listening. Subtitled "The long long trail of Robert Riby Boyes", the album tells the story of Jim Boyes’ grandfather in WW1. Hailing from Scarborough, he went to Flanders, than to Italy, then back to the Western front. There he ended up wounded in No Man's land, but he was saved from a certain death by the German enemies. The songs tell stories of life on the frontline, there are sarcastic songs, songs of homesickness, but the story told in these songs is also one of humanity. Most of the songs are written by Jim, and based on the life story of his grandfather.
The arrangements that go with Jim Boyes’ warm and relaxed singing are beautiful in their simplicity and effectiveness – most of the songs only feature piano, others accordion, both played of Belinda O Hooley. Another very strong album marking the WW1 centenary year.
© Michael Moll


Harald Haugaard "Lys og forfald"
Westpark, 2015

www.haraldh.dk

Artist Video

Hararld Haugaard is well known internationally as Denmark's fiddle maestro - and he has been 12 times winner of the Danish music awards. "Lys og Forfald" is an instrumental album, forming the third part of a trilogy. The music on the album is composed by Harald; this is contemporary instrumental folk music, with Danish, Celtic, classical and other influences. Guests on the album are diverse and prestigious, featuring Väsen's guitarist Roger Tallroth, the wonderful flautist Brian Finnigan, the German string ensemble Fraunhofer Saitenmusikand Danish jazz guitarist Christoffer Møller.
As you would expect, this is music of the highest standard. It is a gentle and relaxing album, beautiful for day dreaming.
© Michael Moll


Daire Bracken & Lorcan Mac Mathuna "preab meadar"
Own label, 2014

preabmdr.com

Irish fiddler Daire Bracken (founding member of Danu) and Gaelic singer Lorcan Mac Mathuna have created with "Preab meadar" a unique album. The music is something very archaic and sparse, yet at the same time ultra modern.
The duo play with musical metres and styles from the Gaelic language, going back in one track to possibly the earliest piece of poetry, from some 3,000 years ago. These old songs are combined on the album with songs composed by the two musicians, inspired by the ancient material. The album only features voice and fiddle playing - and the fiddle playing is very interesting and full of experimentation. It may be as an album a bit too intense to listen to regularly (and I find the out-of-tune whistling in one song irritating), but it is nevertheless quite a masterpiece - intriguing and fascinating.
© Michael Moll


Qristina & Quinn Bachand "Little Hinges"
Own label, 2015

Artist Video

www.qbachand.com

This young Canadian folk duo has already been celebrated on the international Celtic folk scene. Their latest album "Little hinges" has two very different parts to it, and in fact feels like two different albums (so much so that on first listening I thought that it was a completely different band when the second section started).
The first half of the album is firmly in a Celtic folk style. It features some superb energetic fiddle / guitar tunes, and a couple of well-known songs, "What you do with what you've got" and "Crooked Jack", presented in a fresh way with vocals that are more in a pop style.
The second part of the album feels like a different world, and is steeped much more in pop music; in fact I was somewhat reminded of the early Dido material.
There is certainly lots of talent in here, but for me the concept of the two parts does not work.
© Michael Moll


Grace Griffith "Passing through"
Blix Street Records, 2014

www.gracegriffith.com

This singer has rare vocal qualities, a voice that reaches the heart and turns any song into something beautiful. The vocal qualities remind of some of the best Celtic singers around - the likes of Niamh Parsons or Dolores Keane. My highlight of the album, Laurie Lewis' "The Woodthrush's song" telling the story of lost woodlands, is sung a capella, and is most captivating.
The tasteful selection of songs features traditional Celtic songs such as "Down by the Sally Gardens" or "I wish my love was a red rose", as well as contemporary songs from the likes of Emmylou Harris, Rick Kemp or Jennifer Cutting. The music that goes with the songs is appealing and overall Celtic in style, featuring Celtic Harp, guitar, violin, cello etc.
Judging this album by the music itself makes it already outstanding. Yet reading in the sleeve notes about the human challenge and determination that this singer had to put into recording this album makes it even more impressive. Grace was diagnosed with Parkinson's in 1997, just when her career was hitting its stride. This new album was recorded over two years, “a process of frustration versus determination" as the producers is quoted in the sleeve notes.
The album features new recordings, as well as four previously unreleased songs, and a re-release from a 1993 album.
An album that is inspiring and simply beautiful.
© Michael Moll


Daun Ensemble "Dag und Düster"
Own label, 2014

www.tomdaun.de

The Daun Ensemble brings together the Daun brothers - Tom who is one of the leading Celtic harp players in Germany and Rafael on French and Northumbrian pipes, cittern and vocals. They are joined by double bass player David Leahy.
On "Dag und Düster", the ensemble presents songs and tunes that are mostly from German song collections and dance books, from between renaissance and the romantic period. The music is of high quality; enchanting harp sounds and double bass meet bagpipes, early music meets folk and improvisation. The singing style, and in fact the slightly bizarre songs themselves (in German language), take some getting used to.
© Michael Moll


Jim Malcolm "The Corncrake"
Beltane Records; 2014

Artist Video

www.jimmalcolm.com

The popular Scottish singer/songwriter tackles on this album almost entirely traditional songs (with only one exception). This is the second “traditional” album by Jim Malcom, after last year’s “Still” – while all previous 10 solo albums were very much focussed on Jim’s own material. Many of the songs are seldomly heard, while some are better known. I knew the song “Bonnie Early of Moray” from the Old Blind Dog recordings – but I had to double check to find out that this was during the early days of the Dogs, still well before Jim joined the band.
The album has a very relaxed flair featuring Jim’s wonderful warm voice, guitar and harmonica, as well as guests Pete Clark (fiddle, Mark Duff (whistles, bodhran), Scoter Muse (banjo), Dave Watt (keyboards and melodica) and Jim’s wife Susie adding vocal harmonies. The cover of the album is a beautiful watercolour painting of a corncrake by wildlife artist David Bennett.
Eleven relaxed and pleasant songs, sung by Scotland’s foremost singer.
© Michael Moll


The Unthanks "Mount the air"
Rabble Rouser Music, 2015

www.the-unthanks.com

Artist Video

Over the past decade, the Unthanks have become one of the most popular acts on the English folk scene. The band around the sisters Rachel and Becky Unthank releases with “Mount the Air” its first studio album since 4 years.
For me, the album’s most outstanding feature are the songs’ beautiful arrangements, with piano, fiddle, a bit of brass, a bit of percussion. The vocals on some of the songs I find very charming, and I love some of the vocal harmonies (such as in “Magpie”). I will make myself unpopular though by saying that I do not like the singing in all of the songs – as for me the vocals sometimes feel a bit too soft, shallow and like they are getting a bit lost; these songs may have benefitted, in my view, from stronger musical arrangements. I know that I will be a lone voice amongst reviewers in this, as no doubt this album will again be celebrated, as were the Unthanks’ previous works.
© Michael Moll


Jennifer Crook "Carnforth Station"
Transatlantic Roots, 2014

www.jennifercrook.com

A young contemporary singer/songwriter who plays the harp with most of her songs – this is quite an unusual combination, but one which comes out with an impressive result. It is the musical arrangements that make this album stand out from the crowd of singer/songwriter albums that reach our review desks.
The songs from this singer from Bath have an Americana feel to them, with a bit of country, a bit of pop. The lyrics of the songs are powerful; yet I would not have rated this album particularly highly if it was not for the music that comes with the vocals. Jennifer’s harp (as well as guitar and banjo), combined cello, fiddle and accordion (played by Beth Porter and Mike Cosgrave – her trio), make the songs a delight; the arrangements are fresh and have a pleasant Celtic feel to them.
A former BBC Young Tradition Award Winner, Jennifer looks already back to two previous albums, and a career that has seen her already touring with Snow Patrol. This album marks another milestone – brought to reality through an impressive crowd-funding campaign, Jennifer Crook’s new album was produced and mixed at Peter Gabriel’s Real World Studios by Stephen W Tayler (Kate Bush, Suzanne Vega, Stevie Nicks).
Warmly recommended.
© Michael Moll


Luke Daniels "Tribute to William Hannah"
Greentrax, 2015

www.lukedanielsmusic.com

William Hannah (1891-1961) was an influential and, in his time, Scotland’s premier melodeon player, and was a prolific recording artist. He was also a major influence on the legend Jimmy Shand, yet he and his contribution to Scottish music have largely been forgotten. This album may well rectify this – at least a little bit! A labour of love, for this album William Hannah’s music was painstakingly transcribed from old recordings, and even a 1927 Wilkinson Excelsior melodeon was restored specifically for this album.
The wonderful accordionist Luke Daniels – Reading-born but now living in Scotland – is the main player on this album. He is though supported by three other very fine folk players – Neil Ewart on fiddle, Ian Carr on guitar and John Paul Gandy on piano. As you would expect from this line-up, the musical standard on this album is excellent. A very fine album of Scottish dance music, featuring all those popular dances, from Eightsome Reels via Waltzes, Reels and Jigs to Strathspeys and Dashing White Sergeants. It will delight dancers, but its musical quality can stand up also for just listening.
© Michael Moll


Ian Carr "Who He?"
Reveal Records, 2015

Artist Video

www.iancarrguitar.com

It's a good question. If you know Ian Carr from his days with Kathryn Tickell, Simon Thoumire, Karen Tweed and other loosely Scottish-based artists, you may well be surprised by this recording. If, on the other hand, you have followed his emigration to Sweden, his immersion in Scandinavian music with SWÅP and so forth, you might see this CD as a natural progression. It's still folky, still guitar-led, still quirky and progressive, but the backdrop is a mix of English and Scandinavian sounds rather than the celtic jazz of some previous recordings.
There's a lot of fiddle too, of course, in several Swedish hands. Carr himself plays guitars, mandolin, harmonium, trumpet, and iPhone. He also sings a bit, although most of the vocals are provided by experts, and singing isn't a big thing on this album in any case. It's about new tunes, new arrangements, and an attempt to take Swedish traditional music in a new direction. In fact, if you think of the Swedish musiscal tradition as a beautiful painting, while local musicians may be stretching that painting up,down, left and right, Carr's external view allows him to consider another axis of motion which we might call "off the wall".
Not that there's anything too startling here, at least to British or Irish folk ears. It's a bit funky, a bit wacky, and lots of fun, but compared with Hootz or Fyace this is pretty laid back stuff. The Scandinavian habit of amateur mushroom-gathering may explain lines like "My shoes are green / And they have seen / The world". Carr's accompaniment style is clever and catchy, and his melodies tickle the ear without sinking their teeth in. There's a touch of vocoder, a hint of kora, a few odd sound effects, and what Shakespeare might have called a "trumpet strumpet" played surprisingly well for a guitarist. The guitar is the star though, and in some ways the repetitive Scandinavian melody lines accentuate the role of the accompaniment. You may find yourself dancing along to Ian Carr's rhythmic chords and riffs.
© Alex Monaghan


Erynn Marshall & Carl Jones "Sweet Memories"
Dittyville Music, 2015

www.dittyville.com

Old time fiddle, banjo and songs from West Virginia and beyond. Tunes alternate with songs, the latter mainly delivered in a soulful voice by Jones. About half this material is traditional, with the other half roughly split between Marshall and Jones creations. Hepled by a few friends on bass, uke and back-up fiddle, Erynn and Carl produce a rich sound full of those resonant harmonies characteristic of American old time music. Marshall's backing vocals are light and gentle, while her fiddle is both powerful and moving. It's not clear who is playing guitar, banjo, or even mandolin at any given point - probably a bit of a mixture, but all these fretted instruments deliver in sparkling style.
The vocal tracks include Poor Little Ellen, The Convict and the Rose, and Rambling Gambler, along with a couple of more recent compositions. While I have nothing against a good miserable song of murder, moonshine or miscarriages of justice, my preference is for the tunes. There are some great ones here, from Erynn's own Daredevil Blues to the very traditional Kentucky version of Turkey Gobbler. Jones wrote the lively mandolin piece Jack Rabbit Jump, named on the same principle as many American Indian children. Sweet Memories ends with the Marshall composition Lohman Waltz, a deceptively simple melody in the straight oldtimey style, nothing fancy, just a good old fashioned waltz. That's pretty much what this CD is about: good old fashioned music, well played, for its own sake.
© Alex Monaghan


Himmerland "The Spider in the Fiddle"
Tutl Records, 2015

Article: Tradition Carrier

www.himmerland.it

Led by the fiddle of Ditte Fromseier and the sax of Eskil Romme, this Danish quintet is definitely on the modern edge of the folk spectrum. This is their second album - I haven't seen their first - and they already have a mature and confident sound. No surprise, perhaps: the individual members are veterans of many recordings. Bassist Andrzej Krejniuk and drummer Ayi Solomon are new to me, and responsible for injecting much of the jazzy toe-tapping rhythm into this music. Young man-about-town Morten Alfred Høirup is a Danish folk icon moonlighting as a funk rock guitarist. Himmerland's sound reminds me of a number of British folk groups - Salsa Celtica, UFQ, Shooglenifty, Saltfishforty - but it is equally related to the evolving Nordic style of Anja Praest, Basco, Habadekuk, and even Trolska Polska.
Although there is some traditional material here, and most of The Spider in the Fiddle is written in one folk idiom or other from the Baltic to the Balkans, almost all this music was composed by Himmerland. The title track is a delightful Ditte tune, switching from polska to jig time. Sweet Nights Polska has that dark mood of a Scandinavian troll melody, while Lykkelige Rejsedage conveys the sense of a fun day out in an almost American country style. The vocals Kaereste Min Moder and Når Solen Saenker Sine Stråler are pure Danish. Andrej's Polish roots show through in Kaszubstep and the opening Sacred Fire, while Eskil is responsible for the beautiful Valentine's Waltz and Ditte Og Sigurds Bryllupsmarsch. Himmerland finish a great set with a driving dance tune and a soulful mermaid's lullaby - the way you would. This CD is full of fun, excitement and emotion, stunningly performed, and likely to be in my Top Ten for 2015.
© Alex Monaghan


Jenna Reid "Live in Shetland"
Own Label, 2015

www.jennaandbethanyreid.co.uk

A fourth album from this diva of Shetland fiddling is welcome indeed. This recording comes from Shetland's new concert venue, Mareel, and features Jenna solo apart from one accompanist. It is in three sections, each of six tracks. The first section is accompanied on piano by Jenna's sister Bethany. The second section employs guitarist Kevin Mackenzie, and the third switches back to piano accompaniment, this time from Harris Playfair. There are differences as a result, but Jenna Reid's fiddling has a continuity which unifies the whole CD and makes even these first class accompanists fade into the background most of the time. What you are left with is over an hour of outstanding fiddle music.
The music on Live in Shetland is a mix of Jenna's and Bethany's compositions, some pieces by other modern composers, and broadly traditional tunes from Shetland and Scotland. There are some unusual choices, excellent ones such as Auld Berrie by Tom Anderson and the traditional Da Flugga, as well as many old favourites. The Newcastle Hornpipe, In Dispraise of Whisky, Light & Airy, Johnny in the Nether Mains and Suckey Bids Me are all refreshed by Ms Reid's playing. The same applies to her own creations such as Avalanche and Tom & Janette's 50th Fling, as well as great melodies by Brenda Stubbert, Colin Farrell, A. S. Robertson, Willie Hunter and others. I do have two small criticisms, carried over from Jenna's previous albums. Firstly, I feel she could put more expression, more of herself, into the slower pieces such as Hector the Hero and The Dean Brig, which seem slightly syrupy in places. Secondly, the blistering pace of St Kilda Wedding, The Hurricane and one or two other fast dance tunes here detracts a little from the rhythm and shape of the tunes. That said, Jenna Reid's technical skill is phenomenal and the energy level on Live in Shetland is intoxicating, so don't be put off by my quibbles.
© Alex Monaghan


April Verch "The Newpart"
Slab Town Records, 2015

German CD Review

Artist Video

www.aprilverch.com

From Ottawa, small but enormously talented, this little lady dances, sings and plays fiddle, sometimes simultaneously. With more than a handful of previous recordings, April Verch usually performs nowadays in a trio with guitar and bass, producing a solid old-time sound that suits her melange of Canadian reels, Americana songs, and fiddle music from various traditions. April presents three of her own compositions here: the title track which is a classic fiddle breakdown, the final air and song This Melody, and a step-dance solo called Gilchrist which makes an intriguing centrepiece but would probably be better live or on video. Step-dancing crops up on several tracks, providing contrast or percussive accompaniment. Other notable fiddle pieces include the dramatic opener Belle Election, the mandolin-led Midnight Serenade - basically an old-time version of My Love She's But a Lassie Yet - and the Swedish Polska from Kumla which is beautifully arranged for this trio.
The vocals are mainly provided by April, with some assistance from bassist Cody Walters and guitarist Hayes Griffin. They range from the very traditional to the vaudeville If You Hadn't Gone Away and the bluesy Bring Your Clothes Back Home. There's plenty of swing fiddle and slap bass, plus that foot percussion of course. April has a high pure voice in the North American style, similar in some ways to Nanci Griffith, ideally suited to the melancholy Montana Call and the sickly sweet I Heard the Bluebirds Sing. The Verch/Walters collaboration It Makes No Difference To Me is a bit of a surprise, with its woeful world-weary wine-soaked message: great tune, though! The Newpart is out on April's own label - not to be confused with Limerick-based Stab Town Records - and this album is being promoted on European tours so it should be relatively easy to find.
© Alex Monaghan


The Kilfenora Céilí Band "Now is the Hour"
Own Label, 2015

Artist Video

www.kilfenoraceiliband.com

On their sixth album with a new generation of this venerable Clare band, the Kilfenora can afford to kick back a bit - and that's exactly what they do here. Only about half this CD is céilí dance music - the rest is songs and slow pieces, atmospheric stuff right enough, but not what you'd expect from most céilí bands. The vocals, from guest Don Stiffe who does Country & Irish pretty well, include the Christy Moore classic Clare to Here, Tim O'Brien's tear-jerker Lost Little Children, the slightly less sentimental My Heart's Tonight in Ireland by Christy's old Planxty buddy Andy Irvine, and a couple of traditional favourites.
There's a bit of a Tim thing going on here, as compositions by Collins and Edey leaven the five sets of traditional reels and jigs. Concertina maestro Tim Collins contributes a toe-tapping trio of polkas, while English box-player Tim Edey's atmospheric modern air Little Bird lets Garry Shannon bring out the low whistle. The band makes a first rate job of traditional dance music, of course, trotting out Denis Murphy's Reel, Wallop the Spot, Limerick Lasses and The Sunny Banks amongst other well known names. I thought the high Gs in The Legacy could take a touch more emphasis, but what do I know? A Jimmy Shand march and a final waltz complete the picture, a very varied and polished performance from this star-studded band with more than a century of history behind them. The Kilfenora Céilí Band is touring extensively this year.
© Alex Monaghan


Boruma Trio "Gléas"
Own Label, 2014

Artist Video

www.andrewmacnamara.com

A meeting of Clare and Tipperary music, this trio features Andrew MacNamara from Tulla on button box, Eileen O'Brien from Nenagh on fiddle, and Geraldine Cotter from Ennis on piano. Eileen's father Paddy was an iconic Tipperary box player and composer, and four of his tunes appear on this recording, easily identified by their finger-twisting complexity. Most of the rest of Gléas is strictly traditional, with the odd Paddy Taylor or Junior Crehan tune, and two of Eileen's own.
Five sets of reels, two of jigs, a few hornpipes and three lovely airs are delivered by the Boruma Trio with no guests or hidden extras. Eileen also sings two well known songs to break up the instrumentals, a very decent performance of The Mountains of Pomeroy and Fair and Tender Ladies. It's hard to pick out favourites, but I particularly enjoyed Brendan McMahon's Reel, Crehan's jig The Mist Covered Mountain, the less common setting of Geese in the Bog, and The Four Leaf Shamrock. Eileen O'Brien's Air for Denis is another high point, subtly backed by piano and accordion. If you're looking for the pure drop, you won't go far wrong with Gléas.
© Alex Monaghan


Skipper's Alley "Skipper's Alley"
Own label, 2013

Artist Video

www.skippersalley.ie

A young seven-strong band from Dublin, these lads (and one lady harpist) make an impressive noise. High energy and highly musical, their tunes are a mix of traditional Irish and their own compositions - reels, jigs, polkas, slides and more. With wild and reckless piping, powerful fiddle and concertina, banjo and drum, Skipper's Alley put their own stamp on a range of music here. There's nothing pretty, nothing tame, from the first notes of Rocking the Boat through the murder ballads and raw solos, to the thundering climax of Toss the Feathers. If you want to be picky you can find fault with tuning and timing, but this album is not about the finer points of performance: it's about creativity, spark, and enjoyment of the music. And chips, of course.
The harp solo Fáinne Geal an Lae injects a moment of grace and calm before it's hijacked by brash guitar, but I think I prefer its crisp triplets behind the fiddle, banjo and pipes on the worrying named Trousers Slide. With seven musicians it's possible to get many different textures, and Skipper's Alley do just that, from unaccompanied song through to full Chieftains frenzy, with flutes, whistles, viola and mandolin in addition to their main instruments. Two male singers add to the variety, with four vocal tracks in Irish and English, all big old songs. The band has only been on the go for two years, and whilst some of the rough edges remind me of early Pogues recordings, the general sound is a worthy follower in the footsteps of The Bothy Band, Danú or even Lúnasa. Great music, great craic, and a great future: give Skipper's Alley a listen online.
© Alex Monaghan


The Bonnymen "Moyne Road"
Own Label, 2015

Artist Video

www.thebonnymen.ie

After a great debut CD harking back to 1970s greats such as Planxty and The Bothy Band,[47] this young Dublin seven-piece outfit seems to have discovered Bob Dylan and a few other folk revival singers who have inspired them to do their own songs. Barry Lyons has written three ditties, and straps on the old harmonica to deliver them, while I'm guessing his brother Conor is responsible for the Kila-style vocals on the traditional Irish song An Pótaire. There are some fine moments, and the arrangements are tasteful and varied, but my feeling is it'll be a while before the singing is at the same level as the instrumentals.
Tunes-wise, Moyne Road is still firmly traditional and as solid as a rock - although with no actual rock obviously. From the Bothy Band sound of DC to the deliberate tribute of Famous Ballymote, The Bonny Men blend flute, fiddle, pipes and whistle over a keyboard and strings backing, with Conor Lyons' world class bodhrán thumping away too. For some reason this CD is quieter than almost all CDs I've heard recently, except for a couple of places where the drum really comes through strongly, like it or not. Tune names are not divulged, but they are all familiar to any devotee of the repertoires of Kevin Burke, Matt Molly, Paddy Keenan and Liam O'Flynn. Jigs and reels, plux a set of piping slides, bring us to the end of Moyne Road all too quickly: I could have handled a seventh intrumental track to round out the dozen, but the five songs will please some listeners and you can't argue with the quality of the tunes here.
© Alex Monaghan


Epic Male Band "Rye Groove"
Own Label, 2015

Artist Video

www.epicmaleband.com

Finland, famous for its long winters, great fiddlers, and suicidal maniacs. And of course for the Epic Male Band, an instrumental folk rock quintet whose second album combines all three national characteristics above. Led by 5-string fiddler extraordinaire Esko Järvelä, EMB adds what is essentially a rock band to folk-derived pieces from all over Europe and beyond.
From Kaustinen to Kansas, Alness to Ankora, EMB twist tunes into a colourful tapestry which is certainly not traditional but is not so far removed either. Whip is modern Nordic music, while Bo Diddley is somewhere between Swamptrash and Hazzard County. Things are more relaxed for Rose on the Wallpaper, and the tension builds like a Balkan Bond movie through Kabob Ostrobothnia, leading to the free-form mayhem of Sheriff which defies description. A cool jazz backdrop to Five AM seems appropriate, as Esko's insomniac fiddle paces the empty corridors. The title track is as American as reindeer pie, and just as tasty, fiddle and guitar cutting loose before the slightly more restrained Sweeet Reel. The album finishes on a dialogue between guitar and fiddle as they muse on Inner Space. With a range of styles from slightly weird to extremely weird, Rye Groove is perhaps less mindblowing than EMB's first release, but still pretty damn impressive.
© Alex Monaghan


Le Vent du Nord "Têtu"
Borealis Records, 2015

Artist Video

www.leventdunord.com

More musical mischief from the obvious successors to La Bottine Souriante: this Quebec quartet has toured extensively, so they're probably well known to most folkies, but if you haven't heard them yet you're missing out. Fiddle, accordion, hurdy-gurdy and bouzouki pump out the tunes, with trademark foot percussion and jaw harp of course, while all four voices contribute to the rousing vocals. This album is about two parts songs to one part instrumentals, which is a lot of song for me, but most vocal tracks can also boast a fascinating instrumental arrangement, and often a great toe-tapping melody too. Forillon is a fine example, cutting in a jig between the verses. The straight tunes are simply superb, from the rhythmic traditional Cardeuse to the poignant Petit Rêve IX.
Le Vent du Nord compose a lot of their own material, but also rely on source singers from the Quebec tradition and old collections of songs and music. The band are part of a real living tradition, sung and played all over French-speaking Canada - but not always as skilfully as here, obviously. So while there are hints of commercial music on Têtu, even a string quartet at one point, this is still folk music in every sense. The subjects include army deserters, werewolves, religion, weddings, love (sometimes the same thing), suffering and death, all traditional themes. Newer songs cover political issues such as language and nationalism, as well as sentimental subjects. The CD title refers to the stubbornness of several characters in the songs here, but also the tenacity of this group and others in clinging to their own culture despite pressure from North American English. We are the winners in this struggle, which produces great songs such as Le Rosier, Pauvre Enfant and the multi-cultural Amant Volage which ends this recording on a high. Wonderful stuff.
© Alex Monaghan



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