FolkWorld #60 07/2016

CD & DVD Reviews

Bellowhead "Live: The Farewell Tour" [CDs/DVD]
Navigator Records, 2016

Jon Boden "Painted Lady"
Navigator Records, 2006/2016

Artist Video

www.bellowhead.co.uk

Way back in the last millennium, neither the group members nor its early fans, let alone critics, anticipated that 11 piece Bellowhead would become one of English roots music's best-selling outfits. Looking back, we had to realise that Bellowhead did win 8 BBC Radio 2 Folk Awards, did produce 2 chart-topping albums with "Hedonism"[47] and "Broadside",[49] and did win over audiences from Britain and beyond. Last year, Bellowhead frontman, singer and accordionist Jon Boden announced his retirement, and his fellow band members decided to step down as well: "The shows always finish on a high, and so should we", they said. So here we are left with a live in concert compilation, recorded at various venues during the first leg of their farewell tour in November 2015. The 2 CDs feature 52 tracks in total, a lovely collection of uptempo songs and shanties such as "Roll Alabama", "Lillibulero", "Whiskey Is the Life of Man" and "Roll the Woodpile Down", and classic gems such as "Rosemary Lane" and "The Wife of Usher's Well". The DVD – visually not too flawless since obviously shot in passing – features Bellowhead's full concert at Leicester's De Montford Hall, and additionally Richard Thompson's "Down Where the Drunkards Roll," which is not included on the CDs. You can catch the excitement and party atmosphere; Bellowhead has been a band best heard live and I will always regret that I have never seen them in concert. It's a major loss for English traditional music, though their swan song CDs/DVD package is a wonderful souvenir. And as they say, hope springs eternal ... we all are looking forward to the band member's future ventures ... until they'll get together again at last ...

Artist Video

www.jonboden.com
Ex-Bellowhead's Jon Boden has announced his first ever solo tour for November 2016. Please listen to Jon’s brand new live track, "All Hang Down", @ SoundCloud, or view a video @ YouTube! In September 2016, Navigator Records will re-issue Jon Boden’s debut solo album "Painted Lady" with previously unavailable bonus tracks to mark the 10 year anniversary of its release. Almost entirely self-penned (besides Jon's low-fi interpretation of Whitney Houston's "I Wanna Dance with Somebody"), "Painted Lady" features 12 soulful and understated songs, exploring the themes of doomed love and especially notable for its dazzling array of instrumentation, including fiddle, concertina, banjo, guitar, double bass, Indian harmonium, glockenspiel, electric piano, Moog synthesizer and drum machine.
© Walkin' T:-)M

Nuala Kennedy "Behave the Bravest"
Under the Arch Records, 2015

Artist Video

www.nualakennedy.com

Dundalk singer and flutist Nuala Kennedy[33][42][47][49] celebrates ten years as a solo artist with her fourth solo album "Behave the Bravest". It has been recorded while on tour in Australia, the US and her home base in Edinburgh, Scotland, featuring two different touring outfits, amongst them fiddler Shona Mooney, button accordionist Johnny Connolly (of Solas fame) and guitarist Eamon O'Leary (of Nuala's side project The Alt).[55] Nevertheless, the sound impression is coherent, blending traditional material with contemporary influences. Nuala Kennedy delivers three fine tune sets: a piece by fellow Oirialla[50] band member Gilles le Bigot,[24] some Scots/Irish whistle reels, and a couple of Asturian muñeiras. Her flute playing is vigorous and engaging, but it is her vocal performance where she really shines and exudes charm and passion. Nuala made a careful and beautiful selection of old traditional ballads: "Lovely Armoy" is an old emigration song from Antrim, "His Bonnet So Blue" a Scottish Song of unrequited love, "Fair Annie" one of the great story ballads of the Child collection. Nuala's take on the old English "Death and The Lady" makes use of Shirley Collins’ new tune, while her angelic voice and her folk rock treatment points to Terry Pratchett’s Death character rather than to traditional lore. Two of the songs are rendered in Irish: "Mo Bhuachaill Dubh Dhonn" (My Brown-Haired Boy) originally is a Scottish waulking song, recorded for the recent Battlefield Band album highlighting the cultural links between Ireland and Scotland,[58] it had been taken from the Colum Sands / Maggie McInnes recording "The Seedboat",[43] translated into Irish Gaelic and complemented with a collected tune from the first half of the 20 century. "Úrchnoc Chéin Mhic Cáinte" (The Fair Hill of Killen) is a vintage song from Nuala's home area, with lyrics written by the great 18th century Ulster poet Peadar Ó Doirnín.
© Walkin' T:-)M


FullSet "Notes Between the Lines"
Fullset Records, 2016

www.fullsetmusic.com

FullSet's previous albums were at Liberty (2011) or after Dark (2013),[52] now the traditional Irish music sextet delivers some notes between the lines, stating that there is more in music than the eye can see written on lines and staff. While industriously touring Europe and America, one of the great young bands has delivered their most mature oeuvre, a treat for the ears. FullSet's line-up includes Michael Harrison (fiddle), Marianne Knight (flute), Janine Redmond (button accordion), Italian Martino Vacca (uilleann pipes), Andy Meaney (guitar) and Eamonn Moloney (bodhrán), undertaking a passionate but tasteful attack on the listening habit of the traditional music consumer. The seven sets feature a couple of mostly recent compositions by the likes of Liz Carroll, Kevin Henderson, Josephine Marsh and Tony Sullivan. Taking a break, they immserse themselves in "The First of Winter," a beautiful slow piece composed by Michael for his and Janine's wedding. Marianne turns out to be a sensitive vocalist, having chosen Cyril O'Donoghue's "The Bright Side of the Moon" and Tony Small's "The Welcome". You are probably familiar with the Gaelic ballad "Fear a Bhata" (The Boatman), though the band created an exceptional uptempo English version. "Notes Between the Lines" finishes off with the John Smith song "Safe Home" (inspired by the Irish phrase slán abhaile), which is the perfect conclusion of this CD as well as every FullSet concert. This is a song we will certainly hear more often in the future from further artists, I myself started humming it ...
© Walkin' T:-)M


Niamh Parsons & Graham Dunne "Kind Providence"
Own label, 2015

www.niamhparsons.com

"Kind Providence" is kicking off with the chirping of a lark, quickly followed by a particular human songbird. Niamh Parsons is one of Ireland's foremost, though perhaps most underrated traditional female singers.[10][17] She has been singing Irish songs since being a small kid in north Dublin, and had been recruited by Johnny "Ringo" McDonagh for his group Arcady.[35] Since 1990, Niamh has produced a series of excellent solo recordings;[1][12][16][23][34] the last decade saw Niamh performing as a duo with Graham Dunne, partner in both music and life. Graham is known as both sound engineer and traditional guitar player, with a fine solo album of his own, "Giotárai".[31] It took them nearly 10 years to record a new collection of songs. Niamh is in fine form. Her rootsy and emotive delivery suits folk songs old and new very much. Whether visiting the "Shores Of Lough Bran", crossing Appalachia's "Blue Mountain", even swimming over to the almost ruined "Carrickfergus", Niamh feels at home and breathes life in every note. She has selected some novelties and specialities: "The Slave’s Lament" has probably been written by Robert Burns in 1792 as his contribution to the abolition of slavery.[40] South Armagh singer-songwriter Briege Murphy (Niamh has also recorded her "Cloghinne Winds" before) penned the bitter tale of a blacksmith accused of making pikes during the rebellion 1798, "Lappin".[4] Dublin's Maurice McGrath provided the story of Irishmen fighting against Napoleon on the Spanish peninsula, "The Road To La Coruna". Four songs are unaccompanied, while on the others words and stories are delicately enhanced by Graham's sympathetic playing. He studied Music Technology well, so expect an album of high sonic quality, whereas his take on the "Monaghan Jig" displays all his skills as a guitarist.
© Walkin' T:-)M


Various Artists "Live at Foxrock Folk Club: The Parish Hall Tapes 1970-72" [2 CDs]
Cornelscourt Records, 1971-72/2015

www.foxrockfolkclubproject.blogspot.com

A rather nondescript and rundown parish hall in the small village of Cornelscourt near Foxrock in South County Dublin became the area's epicentre for Irish Music between 1969 and 1973. Local teenagers established the Foxrock Folk Club, which attracted some of the most important artists regarding Irish folk, traditional, blues and jazz music, poetry and theatre. The Foxrock Folk Club ran on Sunday nights every other week between October and May for three and half years. By a fortunate twist of fate, schoolboy Kevin McCann recorded many of the 1971/72 sessions on reel-to-reel tape recorder, which have been transferred to CD 15 years ago and have been restored, mastered and published on 2 CDs now. Small distortions besides, "Live at Foxrock Folk Club: The Parish Hall Tapes 1970-72" is a feast for the ears. There is the Who's Who of Irish Music of the early 1970s: the late great folk vocalists Al O'Donnell,[58] Luke Kelly[23] and Ronnie Drew;[37] Danny Doyle[7] who's still with us though has retired from performing; Andy Irvine[55] and Donal Lunny[51] (at the time they both were just about to join Christy Moore to record his first album which became Planxty in the end)[30] as well as Sonny Condell (he was already having success with prog folk duo Tir Na nOg)[60] are alive and kicking. Blues singer Red Peters & The Dirty Dozens and The Butler Fox Jazz Band then are not familiar to me. Listening to "The Parish Hall Tapes", you're transported to a particular moment in time, when Irish traditional and folk music was kicking off again and conquering popular realms both at home and soon abroad.
© Walkin' T:-)M


Elaine Hogan & Sheila Garry "The Shores of Lough Breda"
Own label, 2015

Artist Video

www.elaine-hogan.com

The beautiful shores of Lough Breda (or Lough Brigid) at Ballinahinch near Tulla, Co. Clare were the local haunts of the late traditional Irish fiddler Paddy O'Donoghue (1928-2013). You might not heard of him before, and if you try to google you will only find a rugby or a Gaelic football player of this name. However, though only locally known, Paddy O'Donoghue was a multi-instrumentalist, playing flute with the noted Tulla Céilí Band, founded by Paddy Canny, P.J. Hayes and Joe Cooley in 1946. He also had been a prolific composer. Besides some jigs of unknown composers (but played by Paddy I presume), all tunes have been composed by Paddy O'Donoghue, its titles referring to local places ("The Shores of Lough Breda", "The Road to Ballygirreen", "Drumline Castle"), musicians ("Tribute to Micko [Russell]") or memorable events (e.g. "The Missing Fiddle" recalling an incident with Junior Crehan). Fiddle Sheila Garry had first heard Paddy's reel "The Shores of Lough Breda" at a session in Daly’s Pub, Ballynacally, where Paddy played for many years. This recording project started years ago when she met harpist Elaine Hogan in Bunratty Castle where they were employed at medieval presentations. Paddy's son Cyril O’Donoghue, a prominent face on Clare's music circuit (the FullSet just recorded his song "The Bright Side of the Moon", see review above), also came on board playing bouzouki. The end result with its lyrical melodies and multilayered strings exudes gentleness, heartiness and cosiness. Just like the physical and mental landscape of County Clare itself. Furthermore, this is a treasure trove of unfamiliar tunes to discover and explore.
© Walkin' T:-)M


Mithril Duo "Bottom of the Punch Bowl"
Flying Frog Music, 2015

Artist Video

www.mithril.us

Mithril is a fictional metal from Tolkien's Middle-earth, light as silk but harder than steel. It is also the name of a magical Celtic music group from Mobile, Alabama, featuring Tom Morley (fiddle), Andra Bohnet (flute, harp), Ben Harper (guitar) and Sam Gaston (percussion). Their latest recording "Bottom of the Punch Bowl" is a return back to the roots and their first album in 2003, featuring just founding members Bohnet and Morley. So this became the opportunity to explore the music of the Celtic baroque (Carolan,[20] Gow, Oswald), let me just mention expressive melodies such as "Neil Gow’s Lament for the Death of his Second Wife" or the tongue-in-cheek titled "Whiskey Set" featuring the Carolan tunes "Ode to Whiskey/One Bottle More/John Jameson", as well as a tribute to the Bothy Band[30] (the slow reel "Maids of Mitchelstown"), music from the TV series "Outlander" (which uses the traditional "Skye Boat Song" and other Scottish tunes), and a Swedish brudmarsch employing the nyckelharpa (Tom Morley fell in love with its haunting sound after he heard it on a Väsen[54] album). Both classically trained, they rely on memorable melodies, minimalistic arrangements and a solemn and graceful execution. The duo is supported by cellist Barbara Gabriel and harpsichord player Bryan Joyce, with the occasional bang on the bodhran by Andy Kruspe.
If you want to hear more of Mithril's music, there is a Sunday night session in McSharry's Irish Pub in Fairthorpe, Alabama. Tom Morley is also the author of the tutorial "Learn to Play Irish Trad Fiddle".
© Walkin' T:-)M


Open the Door for Three "The Penny Wager"
Own label, 2015

Artist Video

www.openthedoorforthree.com
www.lizknowles.com

Please open the door, and your hearts for the traditional Irish music trio of Liz Knowles (fiddle), Kieran O'Hare (uilleann pipes, flute, whistle) and Pat Broaders (bouzouki). In the recent past, the trio's members have had the opportunity to play with Riverdance, Cherish the Ladies, Anúna, Celtic Legends, as well as mainstream pop acts such as Don Henley, Bonnie Raitt and Josh Groban, but it is this seemingly simple outfit of good friends that rediscovered some familiar tunes and put fresh arrangements to it. Their second album features a fine selection of instrumental dance music – from the old descriptive piece "Allistrum’s March" to piper Neillidh Mulligan's reel "Barr Na Cuille"; they waltz to Turlough O'Carolan's "Planxty Drew" and pay a visit to "Pleasant Avenue", which is the title of a lovely slip jig of Liz's. "The Penny Wager" (a Ewan MacColl song) also features the sublime vocals of Pat Broaders; the song selection covering a range of traditional songs such as "The Golden Glove" (adapted from Nic Jones) and "A Kiss In The Morning Early" (via Mick Hanly).
© Walkin' T:-)M


Pilgrims' Way "Red Diesel"
Fellside Recordings, 2016

www.pilgrims-way.net

They were brought together by pub sessions around north west England, named themselves after a Rudyard Kipling poem set to music by the late folk singer Peter Bellamy, and recorded their seminal album "Wayside Courtesies" in 2011.[46] From the beginning, their declared aim has been “to give English folk a new set of shoes and see where it runs”, the shoes fitted by the band member's different backgrounds: Lucy Wright (vocals, fiddle) has immersed herself in the elaborated vocal style of traditional Irish singers and commands a wide repertoire of songs from Britain, Ireland and North America. Tom Kitching (fiddle, mandolin) is regarded as one of the hottest English fiddlers at present; last year he has released his debut solo album "Interloper" to critical acclaim.[57] Edwin Beasant (melodeon, guitar, bass) comes from a Morris dancing family, but has been inspired and influenced from traditional music from all over continental Europe and its American offshoots. Only recently, traditional singer and multi-instrumentalist Jon Loomes (cittern, guitar, hurdy-gurdy, concertina) became the fourth member to record their follow-up album after a 5 years studio break.
"Red Diesel" is a rich and thorough endeavour to bring traditional English music in this day and age; it is epic on account of its multi-layered arrangements (they proudly claim that they play no less than 40 different instruments), and it is progressive by adding elements such as fuzzy electrical guitars, distinct bass riffs and wafting Hammond organ. Still, "Red Diesel" is a folk album. Lucy’s stunning voice is bright and clear, conveying the folk stories and tales of love, crime and army life. Three contemporary songs offer further surprises: "Magic Christmas Tree" is an adaption of the Incredible String Band’s "Chinese White", cryptic lyrics meet brimming brass; while Les Barker's "Maybe Then I'll Be A Rose" is pure melodrama and also Paul Simon's "Boy In The Bubble" from the Graceland period has been slowed down and put into a minor key to zoom in on Lucy's vocals and the song's lyrics and story.
© Walkin' T:-)M


Seán Ó Riada "Mise Éire"
Gael Linn, 2016

Síle Denvir "Caithréim: Music and Song from the Plays of Patrick Pearse"
Cló Iar-Chonnacht, 2016

The 100 year anniversary of Dublin's Easter Rising[59] provided the opportunity to re-release the Mise Éire soundtrack. George Morrison's film narrative "Mise Éire" from 1959[34] was using original newsreel footage to chronicle the ascent of Irish Nationalism in the late 19th century, leading up to the abortive Easter Rising of 1916 and Sinn Féin's electoral victory in 1918. Seán Ó Riada's[28] famous musical score (58 particular music items, sometimes based on traditional Irish airs) was a major part of its success: everybody loved it, everybody could hum the tunes, it was heard as often at teenage parties as in select concerts.

A selection of the film music was first released on a 45 rpm record in 1960; in 1979 some of it together with other Riada scores was re-issued on a LP. The present release now includes all tracks from the 1960 record at the beginning of the disc to showcase the highlights of Riada's musical score and provide an easy introduction. Tracks 10 to 41 then present Riada's entire sequence as originally intended for the film (almost complete, some brief items have been omitted).

"Mise Éire" (pronounced [ˈmʲɪʃə ˈeːɾʲə], Irish for I am Ireland) is a Republican poem, written in 1912 by teacher and activist Patrick Pearse (1879-1916), personifying Ireland as an old woman whose glory is past and who has been sold by her children. Pearse became one of the leaders of the Easter Rising and read the Proclamation of the Republic at Dublin's General Post Office in 1916. In the years before the Rising, Patrick Pearse wrote many essays on education, politics and language, stories and poems, and a number of allegorical plays. Though he reportedly was tone-deaf himself, Pearse had a deep interest in folklore and song collecting, understood the effect of music on an audience and used songs as an integral part of his plays. He wrote, since man first trod this earth to the present moment, he has loved to wander in the land of fancy opened up by the folk-tale, and to pour forth in song the emotions of his soul.

www.liadan.ie

Síle Denvir, a university lecturer in Irish from Indreabhán in the Connemara Gaeltacht and a founding member of the traditional Irish music group Líadan,[59] was asked to perform some of this music and arranged the songs that are mentioned in Pearse's plays into a loose knit musical suite which she named Caithréim (triumph) after one of Pearse's original songs. She also selected traditional sean-nós songs such as the story of love and elopment, "An Draighneán Donn", the working song "Ding Dong Dideró", the keening song "Caoineadh Mhuire", or the Jacobite song "Gráinne Mhaol" about the 16th century Gaelic pirate queen Grace O'Malley. Síle Denvir herself plays the harp; she is supported by uilleann piper Thomas Johnston, concertina player Aoife Ní Argáin and fiddlers Síomha Mulligan, Éadaoin Ní Mhaicín and Clarie Dolan.
© Walkin' T:-)M


Goitse "Inspired by Chance"
Own label, 2016

Artist Video

www.goitse.ie

Irish America named them Group of the Year, and even Germany had to assign an award, the Freiburger Leiter of the International Kulturbörse. The Irish music group Goitse, which is an informal Irish greeting meaning come here, has been formed at Limerick University’s Irish World Academy, has toured all over the globe (included being headliner at Germany's Irish Heartbeat[47] and Irish Folk Festival[54] tours), and recorded some acclaimed albums.[49][55] All their experiences were poured into Goitse's fourth studio album. The album's final instrumental sets refer to its title, "Inspired by Chance". "Inspired" is a set of double jigs, written by stimulating luminaries Tommy Peoples and Josephine Keegan (who sandwich a tune by Goitse's Áine Mc Geeney). "Chance" is a rather unorthodox sequence of strathspeys and slides, reflecting on the coincidences, flukes, and random alignments of fortune that have led the group to this point of their career. The interplay of Áine Mc Geeney (fiddle), James Harvey (banjo), Tadhg Ó Meachair (piano accordion), Conal O'Kane (guitar) and Colm Phelan (bodhrán) is elaborate and mature, their performance is thrilling and rocking. The wide range of reels, jigs, polkas and a 5/4 tune provides plenty of diversion. Áine Mc Geeney's vocals are captivating, the three chosen songs covering a wide range of emotions: "Ireland’s Green Shore" is an old Irish song of the aisling (i.e. vision, dream) genre, where the protagonist meets a female personifying Ireland and the Irish nation. "An Bonnán Buí" (The Yellow Bittern) is a popular Irish language ballad written by Ulster poet Cathal Bui Mac Giolla Ghunna (c.1680–1756), at first glance a lament for a bird that died of thirst by a frozen pond, but also a defence by an alcoholic of his drinking habit. Last but not least, Armagh singer-songwriter Finbar Magee wrote the "Hills Of Sweet Lislea" with a Goitse treatment in mind, having been impressed with Áine’s rendition of his "My Belfast Love" on a previous Goitse album. The song had been inspired by archival letters from World War I soldiers sent to their loved ones back home.
© Walkin' T:-)M


Cúig "New Landscapes"
Own label, 2016

Artist Video

www.cuigmusic.com

No monks were harmed in the making of this album!, the five youngsters from Armagh and Tyrone jokingly assert about their debut album "New Landscapes" recorded at Portglenone monastery in Co. Antrim, Northern Ireland. Miceál Mullen (banjo, mandolin), brothers Rónán and Ruairí Stewart (fiddle, uilleann pipes and guitar, respectively) and Eoin and Cathal Murphy (button accordion and percussion) play together since 2013, they recorded an EP and already delighted audiences at Germany's St. Patrick’s Day Festival.[59] The "New Landscapes" are no journey into the unknown, but worth exploring. Their sound is unconsumed and resourceful. The melody instruments are floating over grooving guitar, bass and drums. At times the road branches, and the one taken is the one least expected. The selected tunes are from the oeuvre of artists such as Sharon Shannon, Niall Vallely, Zoe Conway and Tim Edey. Cathal's "Poison the Well" and Ronan and Eoin's "A Space in Time" are imaginative slow reels, inspired by the continually evolving sound of traditional Irish music. The album eventually winds up with a set of classic tunes, "Napoleon Crosses The Alps/Johnny Doherty’s Reel/Rolling In The Barrel", which they had already recorded on their EP, but supplemented here with Beoga's box player Sean Óg Graham (see review below) and Northern Irish piper Jarlath Henderson.
© Walkin' T:-)M


Claire Hastings "Between River and Railway"
Luckenbooth Records, 2016

Artist Video

www.clairehastings.com
www.topfloortaivers.com

Born in Dumfries in north west Scotland, based in Glasgow these days, Claire Hastings had been awarded BBC Radio Scotland’s Young Traditional Musician of the Year in 2015. She immersed herself in Scots folklore, poetry and music since her childhood. Today she plays music in a duo with Robyn Stapleton[57] and traditional quartet, Top Floor Taivers. Combining the artist and the academic, she teaches singing and ukulele in primary schools to keep traditional music alive. As a singer, Claire displays a bright and angelic voice with a slight vibrato, which doesn't distract too much from the subject of a song's story. Claire's chosen songs for her solo debut album "Between River and Railway" are brought to life by her band members Laura Wilkie (fiddle), Andrew Waite (accordion) and Jenn Butterworth (guitar), plus guests such as Duncan Lyall and Ali Hutton who introduce a modern element to the folksy and rootsy foundation. Four of the songs are Claire Hastings' original compositions, including a lament about an unwanted child and an homage to the workers at Gretna's arms factory during World War I. First and foremost, however, is "The House at Rosehill" she grew up in Dumfries, evoking a great deal of childhood memories. The rest is a classic selection: "The Bothy Lads" is a well-known song from Scotland. "The Posie", a lesser-known Burns song with an original tune, celebrates her Dumfries heritage, while "Annie Laurie" is a well known love song from another local, William Douglas, who preceded Robert Burns. Closer to the present time, Roddy McMillan’s spirited "Let Ramensky Go" relates the story of a Glasgow criminal who became a war hero by cracking safes in Germany during World War II. Claire chose to finish off the album with Lionel McClellend's lovely parting song:

    Come spend a while wi’ me
    For your ay’ guid company
    Aye an’ wha kens when we’ll meet again
    An’ wha kens whaur we’ll be
    We’ll lift oor hearts an’ sing
    While the pipes an’ fiddles ring
    And we’ll lift oor heels tae the jigs an’ reels
    Come spend a while wi’ me
© Walkin' T:-)M

Josie Nugent "Modal Citizen"
Own label, 2016

www.josiebrianmusic.info

Josie Nugent is an All-Ireland fiddle champion who grew up surrounded by notable musicians such as Martin Hayes and Tony Linnane in Co. Clare in the west of Ireland. Today a music therapist, she has widely performed, broadcast and recorded, including a duo album with uilleann piper Brian Stafford, "The Caves of Cong".[55] "Modal Citizen" is Josie's debut solo album of original compositions, of which she says the melodies are of the tradition but not bound by it. They are rooted in her native Clare, but also inspired and influenced by the time spent in Britain and Sweden. However, they are entirely composed in the four modes of Ionian, Mixolydian, Dorian and Aeolian, which are most commonly used in traditional Irish music. Only at the end of the album, she trespasses the line between original and traditional music and those of other contemporary composers (Harding, Boullier), almost unobservable. Josie's fiddle playing is smooth and nimble, using a variety of fiddles, including an octave violin and a Stroh fiddle. Uilleann piper Brian Stafford and a couple of other guests lend some proficient support. The arrangements are fancy and striking, though Josie's use of a unique Rhodes MK1 Stage Piano can be fascinating but challenging at times - to say the least.
© Walkin' T:-)M


Réalta "Clear Skies"
Own label, 2016

Artist Video

www.realtamusic.com

Belfast traditional music group Réalta (which means star in Irish) came forward as winners of the prestigious Danny Kyle Award at Celtic Connections. They managed to channel the energy and enthusiasm of their live performances[47] into a series of critically acclaimed studio recordings.[50] Originally a trio, the sound is based on the singing and guitar playing of Deirdre Galway and the twin piping of Conor Lamb and Aaron O’Hagan, a curiosity in any line-up. Réalta 2016 is a five-piece, including the bouzouki and double bass of Dermot Mulholland and the bodhrán and percussion of Dermot Moynagh, thus "Clear Skies" is more demanding but more effective than the trio's debut album. The tune selection is a tour de force, kicking off with a set from Asturias by way of Llan de Cubel. The remaining music, however, is deeply rooted in the Emerald Isle, particularly in the North. There's jigs and reels stirring the feet, but most memorable are a rendition of the song air "Úr-Chnoc Chéin Mhic Cáinte" and, most of all, a take on Ruaidhri Dall Ó Catháin's famous tune "Tabhair Dom Do Lámh" (Give Me Your Hand), of which I didn't believe you could make a success of it again after Planxty did it for good. Deirdre Galway is moaning and crooning, as is Dermot Mulholland lilting, the three songs featured are the classic drinking song "Longford Weaver" (aka "Nancy Whiskey"), the northern love song "Kellswaterside" and the Irish language praise poem "Máire Iní Mhic Ailpín".
© Walkin' T:-)M


Na Leanaí Sands "Kindred Roots"
Ryan Records, 2016

www.naleanaimusic.com

We are all familiar with the veteran Irish folk group The Sands Family from Co. Down in Northern Ireland,[17] which is alive and well and still touring, both as a family ensemble as well as touring and recording individually.[36][43][48][60] Now the next generation takes off. Na Leanaí (Irish for The Children) are the sons and daughters of Anne (Sorcha, Eimear), Ben (Ryanne), Hugh (Fra) and Tommy Sands (Moya). They grew up learning songs and singing with the family at clan gatherings and festival backstages. So their debut album "Kindred Roots" beckons to a cultural heritage worthy of protection but at the same time create a musical universe that is one-of-a-kind. Na Leanaí are exploring the folk songs of their childhood, but add twists and turns to make it their own and let it sound fashionable and up-to-date. Most of all, you can almost physically sense the fun and joy this bunch is having. There's plenty of fiddle, flute, bodhrán and guitar, but discretely employed to focus on the songs' lyrics and story and the singing (each one is taking lead) and the angelic harmonies. "Saucy Sailor", "Crow On The Cradle", "Dulaman" and the classic "Auld Lang Syne" are the sometimes obvious and sometimes particular choices. Eimear wrote "Northern Star", and Colum Sands gave his 20-year-old "The Night Is Young", a fitting finale of an entertaining album who's only discord is its brevity of just 35 minutes. Though I'm full of hope it's not the last we hear of these kids of great and many talents.
© Walkin' T:-)M


Iain MacFarlane "Gallop to Callop"
Old Laundry Productions, 2016

www.oldlaundryproductions.com

Scottish fiddler Iain MacFarlane has been around for quite some time. He grew up in Glenfinnan in the Western Highlands, surrounded by traditional music, played with Irish-Scottish group Boys of the Lough, co-founded Blazin' Fiddles,[59] and recorded with numerous fellow artists.[23][24] It is only now that he recorded his debut solo album, featuring jigs, reels, marches, hornpipes and quicksteps from the fiddle and pipe tradition, the occasional piece from Michael McGoldrick and Iain's brother-in-law Allan Henderson, as well as a lot of original compositions such as the bouncing reel that gave the album its title, "Gallop to Callop", and the whimsically titled reel "The Head, The Heart and the Tail" refering to the different stages of whisky distilling. The album finishes with an original medley of Iain's played by Ewan Henderson on the bagpipes, though being a fiddler, Iain has been immersed in the piping tradition of the Highlands and his fiddle style shows a strong influence of piping. Altogether, the album is full of verve and rapture and highlights his tremendous West Highland fiddling style. In addition, he has a delicate touch when executing two slow airs of his own. Iain employed a couple of musical friends, above all his partner Ingrid (clarsach) and three siblings Ewan (pipes, fiddle), Allan (fiddle) and Megan Henderson (fiddle), as well as Breabach's guitarist Ewan Robertson and Altan's Dermot Byrne on the melodeon.
© Walkin' T:-)M


Marco Fabbri "Crossroads"
Own label, 2016

www.marcofabbri.eu

This Marco Fabbri is not the well-known Italian ice skater and dancer but a smart fiddle player who shares the elegance of his more famous namesake. Born in Rome anno 1959, Marco Fabbri plays the fiddle since the early 1980s. In the mid 1980s, he went to Ireland and spent a couple of years in Belfast. He joined local band Ultan, featuring Brendan O’Hare (flute), Michael Horgan (uilleann pipes) and Maurice McHugh (guitar), and toured the whole of Europe with them. After having returned to the land of his forefathers, Fabbri became a much sought-after traditional violinist, recording with Roman folk rock group Ned Ludd[6] and Emilian world music band Fiamma Fumana.[18] Eventually, he has released his solo album “Crossroads”, undertitled Tradional Music from Ireland, Italy, Brittany & Beyond. From the Celtic repertoire, Marco primarily selected recently composed jigs and reels by the likes of Sean Ryan, Josephine Keegan, Paddy O'Brien and Charlie Lennon. He sneeks off to Sicily for some tarantellas and a waltz, touching Britanny and the French Alps. A traditional dance from the Bolognese Apennines, here played as a reel, "Bergamasco", bridges these musical worlds. Marco employed a who's who of traditional Irish music, namely uilleann piper John McSherry, flutist Kevin Crawford, accordionist Christy Leary, and a couple of guitarists and percussionists – everything hold together by his meticulous fidle playing.
© Walkin' T:-)M


Michel Balatti "The Northern Breeze"
Felmay, 2016

www.michelbalatti.com

Michel Balatti, who played with Italy's premier Irish band Birkin Tree[26] and traditional Italian group Liguriani,[55] is one of the rare flute players in the genre of traditional Italian music. Ten years ago, he lived in Ennis in the west of Ireland, and his debut solo album "The Northern Breeze" displays his grasp of the Irish tradition. So most of the album is made up of traditional Irish tunes and some recently composed jigs and reels by Brendan McGlinchey, Junior Crehan and Paddy O'Brien. "Eleanor Plunkett" has been taken from Baroque harper Turlough O'Carolan, the slow air "For Johnny" from piper Martin Nolan, and a waltz from Swedish fiddler Lars Höpkers. Michel Balatti himself wrote three melodious reels. He plays a whistle duet with Nuala Kennedy (see review above) on Liz Carroll's "Air Tune", concertina player Caitlin Nic Gabhann and harpist Elena Spotti add occasional touches, guitarists Michael Bryan (of the Nuala Kennedy Band) and Fabio Biale (of Liguriani) provide the basic accompaniment. After all, arrangements are kept to a minimum to showcase Michel Balatti's punchy flute style.
© Walkin' T:-)M


Old Salt "Up River Overseas"
Appel Rekords, 2016

Artist Video

www.oldsalt.us

An old salt is a raconteur of sea stories and tall tales; Dan Wall steps into the shoes of a storyteller on the go. Once Dan Wall stumbled upon a street band in New Orleans; he fell in love with American roots music and busking and soon picked up banjo and fiddle. Travelling through Europe, he found his way to the Etno Histeria festival in Slovenia in 2013 and spontaneously formed a musical ensemble of musicians from Belgium (violinist Lotte Remmen, guitarist Johannes Wannyn, double bassist Lara Rosseel), Sweden (5-string viola player Anton Teljebäck) and Scotland (percussionist Dave Barfoot). The set list includes both the band's arrangements of traditional American songs such as "Wayfaring Stranger", "Red Rocking Chair" and, a personal favourite of mine, an uptempo version of "Oh Death", and original songs by Dan Wall - the soundscape unites the last 50 years of American folk music from Cumberland Gap to Washington Square, with European traditions adding delicate touches. All songs were recorded in a live setting with the band members gathered around one microphone, so "Up River Overseas" is an authentic mirroring of their vibrant and impulsive performance on concert stages, at street corners and in pub sessions.
© Walkin' T:-)M


Ale Carr & Esko Järvelä "Holmgång"
Own Label, 2015

Artist Video

www.aleesko.com

It took me a while to get the best out of this CD, but now I'm really enjoying it. Ale and Esko are superb musicans, and they duet perfectly on cittern and fiddle - but that's all, no extras, just two men and their musical weapons in hand to hand collaboration. Holmgång gets a bit abstract at times, but there are a few instantly appealing tracks. Kollberg & Pringar is a pair of traditional tunes, beautiful melodies, delicately edgy. Lasse i Lyby is a traditional Swedish tune achingly played here, a delightful piece. Kolapolskan is a surprisingly simply composition which builds and builds. Blue Mountain Polska starts out as a poignant fiddle air and then goes a bit crazy.
Carr and Järvelä have been on the scene for a few years now, with Basco and Dreamers' Circus, or Frigg and Epic Male Band, but they may have stayed off your radar. If so, here they are full force. And they're a force to be reckoned with. Dog 4 Real is crazy from start to finish, while Rockin' the Boat goes straight through crazy and out the other side. Fiddle and mandothingy take it in turns to dazzle with their virtuosity on the melody line, and both can provide sensitive accompaniment. Most of the material here was written by Sweden's Ale Carr, with some help from Esko the fiddling Finn. Engelska 2.0 is probably a good touchstone for Ale and Esko's music: powerful, great tune, fast and intricate playing, with a plethora of musical fireworks thrown in.
© Alex Monaghan


Dzouga! "Enfachinaires"
AEPEM, 2016

myspace.com/dzouga

Folk fiddlers from the Auvergne and Limousin regions of France are not something you hear every day, even if you live there. The typical instruments of these regions are the bagpipes, the hurdy-gurdy and of course the button accordion in its various forms. Violoneuse Laurence Dupré and violoneux Olivier Wely have immersed themselves in a small branch of one of the big traditions of central France, and produced a recording of spirited and inspiring music which is entirely in keeping with French fiddling while gently moving the tradition forwards. Most of Enfachinaires is dance music, rhythmic and engaging, bourrées and polkas and scottishes. One or two tracks include vocals, but more in the manner of mouth music than a song as such. Even La Fille du Fermier, a classic ballad of country beauty and callow bombadier resulting in an urgent need to marry, is delivered with an emphasis on the dance rhythm.
Within the constraints of two fiddles and an occasional viola, Dzouga (soon to lose their exclamation mark like others before them) produce a great variety of sounds. One fiddle plays the melody while the other drones, or both fiddles play double-stopped harmonies, or one fiddle provides rhythmic accompaniment while the other leads the tune, and of course there are two-part versions swapping the melody between the fiddles. A score of traditional tunes is augmented by four of Dzouga's own - two driving bourrées in totally traditional style, and a final track with a more contemporary feel. Most of the melodies here are new to me, not the standard central French repertoire at all, which is great to hear. There are also some classical influences: a pair of waltzes adapted from operettas by old Auvergne fiddler Jean Perrier, which is actually one of the weaker tracks in this collection, and the opportunistic combination of a Bach polonaise with a rather stately Limousin mazurka. The variety, energy and musicality of Enfachinaires make it a real pleasure, and with fiddling of such high quality I'm sure this recording will inspire many more musicians.
© Alex Monaghan


Various Artists "Ireland - Crossroads of Art and Design, 1690-1840"
O'Brien International, 2016

www.irelandcrossroads.com

Subtitled Crossroads of Art and Design, this is a companion CD to an exhibition at the Art Institute of Chicago but it stands on its own as a very fine collection of Irish music ancient and modern. Liz Knowles and Liz Carroll were commissioned to produce music to accompany the exhibition, with Ms Knowles choosing older pieces and Ms Carroll composing new ones, alternating tracks through the album. To the extent that there's a theme here, it's the patronage of craftsmen including musicians, and the pieces created for the Irish gentry in their grand country houses. Carolan features strongly of course: his Concerto and Farewell to Music open and close this hour of music, played by Catriona McKay and Triona Ní Dhomhnaill on harp and keyboard respectively, both adding their own interpretations. The fiddles of Knowles and Carroll are augmented by flutes, pipes, drums, and the versatile upright bass of Trevor Hutchinson. There's also a piano solo from Marty Fahey on the Bunting air Soft Mild Morning, and a track borrowed from the 2012 Goodman CD by Mick O'Brien, Aoife Ní Bhríain and Emer Mayock. Liz Carroll's dozen compositions include the gorgeous air Lough Derg Cross linked with two jaunty reels Tale of a Tub and The Potter's Wheel. Liz Knowles follows these with The Droning Old-Aged Woman (we all know one) and Byrns March from 19th century collections, as well as the familiar air An Buachaillín Caol Dubh and a fiddle solo on the Carolan lament Sir Ulick Burke. Other Carroll originals here feature several slow pieces, and even a planxty written for 18th century protestant minister and harpist Charles Bunworth. Slip jigs and hornpipes, marches and airs trail each other in an aristocratic musical banquet from the prosperous era before the great famine which brought a dramatic change in Irish music. The CD comes with an impressive booklet of photographs and information on life in 18th century Ireland, and full notes on all the tunes.
© Alex Monaghan


Secret North "Live"
Own Label , 2015

www.thesecretnorth.com

What? Who? Well, the who is relatively easy: Ailie Robertson (The Outside Track) on harp, Ale Carr (Dreamers Circus, Basco) on cittern, Donald Grant (Elias Quartet) on fiddle, Kieran Munnelly (Dave Munnelly Band) on flutes and bodhrán, Niall Vallely (Buille) on anglo concertina, and Nikolaj Busk (Dreamers Circus) on piano make up this six-piece from Scotland, Ireland and Scandinavia. These established stars of folk traditions got together to create and perform a body of new music, and they each put their name to one track of this CD. The six pieces were recorded at a series of concerts in Scotland.
So what did they produce? Great music, that's for sure: the whole album is exciting, moving, and hugely enjoyable. Some of it is identifiably traditional, but very little is ascribable to a particular tradition: each piece is a blend of influences. These are big compositions, averaging over ten minutes each, with lots of variation within a single track. More than just one thread runs through any one piece, and sometimes those threads run into other pieces. Haunting slow themes alternate with virtuoso reels and jigs, ancient modes butt against modern dissonances. There are many wonderful moments, and even more surprises. Very little here steps outside the bounds of folk music, but The Secret North have carved that music into new shapes. More than this, they have created a coherent whole out of a handful of traditions across more than a thousand miles of land and sea. That's an impressive achievement.
© Alex Monaghan


Leveret "In the Round"
Root Beat Records, 2016

Artist Video

www.leveretband.com

Beautiful music superbly played, Leveret represent the pinnacle of English traditional music. Andy Cutting's button box playing has long been iconic in the genre of anglo-gallic dance music, at least since his early Blowzabella days, and indeed Cutting has just received the 2016 BBC Radio 2 Folk Musician of the Year award. He's joined in this trio by English concertinist Rob Harbron and fiddler Sam Sweeney, both seasoned players with a particularly English style. In the Round is Leveret's second album, and it consolidates their initial New Anything release into a more defined character, a more unified sound. Of course, they may shoot off in another direction now, but to my ears this CD has a single personality, a common thread stringing all ten tracks together.
Not that all the material here is the same: far from it. The Lincolnshire source of Miss Wright's Fancy perhaps explains its Northumbrian cadences, while The Height of Cader Idris would not be out of place in a Welsh hymnal. The opening two pieces are taken from John of the Green, The Cheshire Way and three other tunes come from 17th century Playford publications. Rob Harbron has been hard at work digging up these buried treasures, and has also produced four fine compositions of his own. Rose Howard is a delightful slip jig, a high point of this recording for me. The air Dundas is a gentle beauty, and the simplicity of Not Basingstoke, repeated and renewed for five or six minutes, lends a hypnotic force to the music. The Road to Poynton is a more unusual melody, with twists and turns in both rhythm and tempo.
The deliberate dissonances of Jack A Lent are in contrast to the rich melodious minor harmonies on most tracks. There's a very English groove, around E minor I'm guessing, with the odd modal cadence, where Leveret are very comfortable. Their arrangements are not particularly complex, but everything builds on these simple melodies to produce a great warmth and fullness of sound. The Rising Sun, An Italian Rant, Solomon's Joak, Glory of the Sun and Grinders (unrelated to the popular social media site) are great old tunes from the English tradition given a brush down and a shot of vitamins by Leveret. Nothing here is rushed, but these guys are no slouches either and most tracks jog along at a very pleasant pace. In the Round is about as good as English music gets, and that's very good indeed.
© Alex Monaghan


Patrick Molard "Ceòl Mòr / Light & Shade"
Innacor, 2016

Artist Video

www.patrickmolard.com

A great piper from a Breton musical dynasty, Patrick Molard here shines a light on the grand old music of the Scottish highland pipes - Ceòl Mòr or "Great Music" as it is known, the piobaireachd tradition dating from the sixteen hundreds. Piobaireachd is usually played unaccompanied - the pieces are long and complex, and the skill is in individual interpretation within this very strict form. However, a number of pipers and other musicians have recently experimented with freer approaches to piobaireachd pieces, ensemble arrangements, and other ways to make something new out of this ancient musical genre. Molard has taken classic Ceòl Mòr compositions, averaging around ten minutes each, and played them in pretty much the classic style but in arrangements for fiddle, double bass, saxophone, guitar and drums.
The playing is first class. For those familiar with piobaireachd, the addition of rhythm to what was essentially a solo melody line is a fascinating experiment: Left Hand in particular, a pipes and drums duet, emphasises the rhythms of the piobaireachd variations. If you're new to piobaireachd, you might be more comfortable with the melodic lament Little Supper - the saxophone of Yannick Jory stands in for the pipes on this track, showing the similarities and differences between the two instruments. Ceòl Mòr / Light & Shade ends with the atmospheric Lament for the Union, a long introduction evoking Scottish summer weather, followed by an explosive group arrangement and a final gradual fading away of this remarkable music. Patrick Molard's experiment may succeed or fail for you, but you will never view Ceòl Mòr in the same light again.
© Alex Monaghan


TiTom "Ken Ha Ken"
Own Label, 2016

Artist Video

www.titom.fr

I've been listening to this CD for several weeks now, in the car mainly, and it's still fresh and exciting. Great bombarde playing over a thumping rhythm section, strong vocals in Breton on about half the tracks, and a mix of traditional Breton dance music and new compositions: this is a blast of refreshing noise from Celtic France. With fiddles, flutes and banjo, there's quite a pan-Celtic sound to Ken Ha Ken - but the material is unmistakably Breton from start to finish.
The dark mysticism of Intro GB draws on Arthurian legend, ancestral dance rhythms and alternative rock to create a sound reminiscent of bagads and bands like Bleizi Ruz or Ti Jazz. Globule Bleu reinforces the blend of old and new Breton music, adding a bit of Balkan beat. A pair of traditional dance tracks kick the dust off old An Dro and Gavotten melodies, showcasing the flamboyant bombarde of Thomas Lotout and the gimlet-sharp vocals of Enora de Parscau. Un Air de Déjà Vu mixes those vocals with a magnificent schottische which is followed by one of my favourite tracks here: Cercle 72 Degré Sud - a touch of hurdy-gurdy, a bit of biniou, and a lot of rock.
Bep Tra a Losk features the West African cora, standing in for the Breton harp in some ways, but also expressing the eclecticism of Titom. Without losing their Celtic heart, this group embraces aspects of African, Asian, southern European and even American music. The breadth of Titom's music keeps things interesting, and is no accident. When I finally got round to reading the sleevenotes, I found a framework of tradition and innovation: poetry, ancestry, Mahler and Voltaire. This is the fourth album by Titom, and they seem to have a musical journey in mind, so we'll probably meet up again further down the road - I hope so anyway.
© Alex Monaghan


Mick McAuley "Highs & Bellows"
Own Label, 2016

www.mickmcauley.com

A second solo CD from this Solas box-player is something a bit special, whatever he calls it. Ably accompanied by Colm Ó Caoimh on guitar, McAuley plays and sings through nine instrumentals and two songs. The vocals are very traditional, two ballads from the core of the Irish tradition, and indeed Mick's version of As I Roved Out is not far from Andy Irvine and Planxty's take on the same song. Paddy's Green Shamrock Shore has been recorded on both sides of the Atlantic Ocean, and this cut reminds me most of the Seán Keane version, rhythmic and tuneful.
McAuley's button box has all the punch of a Munster musician, leaning south-west from his native Kilkenny, and he plays tasty sets of slides and polkas to prove the point. The Constellation Slides kick off with Mick's own Star of Slievenamon, followed by the classic Star Above the Garter and topped off with another McAuley composition Plough and the Stars, a quare beast altogether, and quite unlike the reel of the same name. There's another handful of McAuley tunes spread through this CD, along with many fine traditional favourites and a few by the likes of Liz Carroll and Olcan Masterson. More surprising are the continental accordion pieces Indifférence and Domino, elaborate music beautifully played, a challenge most Irish button boxes don't attempt. Mick's original Doireann's Waltz sits somewhere between this Parisian virtuosity and the plainer waltzes of the Irish repertoire.
There's plenty of pure Irish music here too, from Mayor Harrison's Fedora to The Moving Cloud, both virtuoso pieces themselves. Palm Sunday and The Noonday Feast, John Walsh's and Jackson's Favourite, a rake of reels and a medley of Mick's own jigs all testify to the traditional roots of McAuley's music. With lots of variety and excellent musicianship throughout, plus Colm's sensitive guitar, it's all good as they say. Mick pushes all the right buttons, and word of this album will be bellowed on high from Naas to Nashville.
© Alex Monaghan


John Cee Stannard & Blues Horizon "Stone cold sober"
Cast Iron Recordings, 2015

www.johnceestannard.co.uk

John Cee Stannard (Gibson J-200 and resonator guitars, banjo, vocals) has been active in the British music scene for 50 years, in 2013 he joined forces with Mike Baker (acoustic and electric guitar) and Howard Birchmore (harmonica) to play the Blues. For the recordings of his latest album he invited a bunch of great session musicians: Andy Crowdy on double bass, Julian Bown on drums, Simon Mayor on violin and mandolin, Matt Empson on piano, Roger Cotton on Hammond and Nicole Johnson as background singer.
Stannard wrote 11 of the 12 songs and starts with the up-beat “I don’t want you anymore”, a story about a failed love. The playing together of Mayor’s violin and Birchmore’s harmonica is awesome on “The story”, a slow Blues with brilliant double bass lines and a beautiful duet by Stannard and Johnson. Blind Blake, a legendary American Blues and Ragtime singer, wrote the “Lead hearted Blues”, a perfect showcase for Birchmore’s harmonica. The title track is an up-beat Country Blues featuring resonator guitar, banjo, mandolin and piano rag and “Poverty Blues” a passionate song in shuffling pace and Johnson adding powerful back-up vocals. The guys finish with “This rag of mine” featuring the essential sound of violin and piano.
The third album of John Cee Stannard’s Blue Horizon project is a gem for fans of the genre, authentic and straight forward Blues.
© Adolf „gorhand“ Goriup


Waydown Wailers "Empty Promises"
Woodstock Records, 2015

www.waydownwailers.com

The Waydown Wailers is a band hailing from Canton NY featuring Dave (vocals, guitars, mandolin) and Christian Parker (guitars), Connor Pelkey (bass, vocals) and Michael Scriminger (drums, percussion). Together with producer Aaron “Professor Louie” Hurwitz (keyboards, accordion, vocals) and background singer Miss Marie they recorded 9 original songs and one cover version for their sophomore album.
“Don’t let life pass you by” is a beautiful opening song, a melancholic lesson with a lively pace, fine guitar licks, Professor Louie on Hammond organ and Christian playing the B-bender guitar. The title track has a psychedelic edge and reminds of the 70ies Rock bands as well as the rollicking Rock of “Waydown blue”. Dale Hawkins wrote and recorded “Susie Q” in 1964 and it was covered by the likes of CCR or the Rolling Stones, now the Waydown Wailers add another intoxicating Rock version of the originally Rockabilly song. “Still water” is a romantic Americana ballad in ¾ beat with accordion and “Whiskey & cornbread” an amazing Blues-rock.
The Waydown Wailers do not wail, but they rock the boat hard with their mix of Americana and the 70ies Rock music.
© Adolf „gorhand“ Goriup


Dave Insley "Just the way that I am"
Own label, 2016

www.daveinsley.com

Country singer Dave Insley (vocals, acoustic guitar) moved from Arizona to Austin TX in 2006, where he recorded his fourth solo album with 12 original songs. He is accompanied by a for the genre typical line-up with harmonica, fiddle, pedal steel, guitars, accordion, horns, keyboards, drums and bass.
Insley starts with a melancholic mid-tempo Country song with piano, trombone and guitar, “Drinking wine and staring at the phone”. Pedal steel and fiddle embrace the beautiful duet with Kelly Willis on the ballad “Win-win situation for losers” (Rick Shea/Dave Insley/Paul Lacques) and drums and bass create an intoxicating pace on “Arizona territory, 1904”, fine pedal steel, accordion and trumpet sound accompanies Insley’s narrative singing. “No one to come home to” is an up-beat two-step featuring steel guitar and additional vocals by Dale Watson and the title song is a slow waltz, Insley kind of wallowing in self-pity. The final Country Blues “Everything must go” was co-written with Rosie Flores and showcases another duet with Willis.
Dave Insley released his previous album in 2008,[37] the genre didn’t change, but the songs are a little more melancholic, sounds like he had difficult time.
© Adolf „gorhand“ Goriup


Jimmy Ruggiere "A heartache couldn’t happen to a nicer guy"
Blue Streak Records, 2015

www.nicerguymusic.com

Texas singer/songwriter Jimmy Ruggiere (vocals, harmonica, acoustic guitar) recorded his solo debut album with 10 self-penned songs in Austin TX. Producer and multi-instrumentalist Chris Cage added guitars, keyboards, lap steel, dobro, mandolin and harmony vocals and session musicians on drums, bass, fiddle, trumpet, pedal steel and banjo joined the recordings.
Ruggiere starts with the swanky Country Blues “Baby I’m wise to you” with fine playing of harmonica, fiddle and e-guitar. “I’ll take the ride” is an up-beat Country Rock with harp and lap steel taking the lead and the title song a Country shuffle driven by David Caroll’s upright bass and Paul Pearcy’s drum beat, showcasing Warren Hood’s great fiddling. Cage’s flamenco guitar, fiddle and Jimmy Shortell on trumpet create the Tex Mex sound on “There’s one too many pretty girls in Tucson” and “Sunday’s broken” is a melancholic ballad mesmerized by the muted trumpet and Kristin de Witt’s beautiful harmony vocals. The final Bluegrass “90 miles to Nashville” is driven by Rolf Sieker on banjo.
Jimmy Ruggiere has gathered some excellent musicians to record his typical Texas Country songs, you like it or not.
© Adolf „gorhand“ Goriup


Jon Spear Band "Live music is better"
own label, 2016

www.jonspearband.com

After their award winning debut[59] Virginia based Jon Spear Band released a live album recorded at the Southern Café & Music Hall in Charlottesville VA. On that November evening Jon Spear (guitar, vocals), Dara James (guitar, harp, vocals), John Stubblefield (drums) and Andy Burdetsky (bass) featuring guest appearances of Haywood Giles on saxophone and Adrian Duke on keyboards plaid 5 songs from Old Soul and covered 7 Blues songs.
They start off as the original 4 piece band with “Devil’s Highway”, a Blues-rock track from their debut, Dara sings and plays lead guitar and the guys create the intoxicating sound. Then Adrian on B3 and Haywood on sax join them for “Nothing to nobody”, a laid-back Blues Soul track by Californian guitarist Robben Ford, both Jon and Dara adding a virtuoso guitar solo. Jon sings “Shake your Boogie” by the Hollywood Fats Band, Dara switches to the harp and duels with Haywood, Adrian on piano, John and Andy create the driving pace. “Cissy strut” is an instrumental Funk originally recorded by The Meters, brilliant bass-drums rhythm, B3, sax and the two guitars run wild. Dara soulfully sings the beautiful title song of their debut, B3, bass, drums and rhythm guitar lay the fine background and Haywood and Dara add brilliant soli. Adrian sings and plays the piano on “I love my skin”, an original Blues by Jon, and the final track ascertains that “Live music is better” with dazzling soli by the two guitars, piano and sax, incited by the stunning bass-drums pace.
The Jon Spear Band features some of Central Virginia’s most dedicated Blues musicians deeply immersed in the Central Virginia Blues Society. Their sophomore album is another gem for Blues lovers.
© Adolf „gorhand“ Goriup


Jason Vivone & The Billy Bats "The Avenue"
Own label, 2016

jasonvivonethebillybats.bandcamp.com/

Kansas City MO based Jason Vivone (vocals, slide guitar, cigar box guitar) teamed up with The Billy Bats, Ben Hoppes (banjo, vocals, percussion), Rick MacIvor (keyboards, vocals, percussion), Matt Bustamante (drums, vocals, percussion), Jeremy Clark (bass),Paula Crawford (guitar, vocals, percussion) and Joanna Berkebile (vocals, percussion), to release an 8 track album with 7 original tracks and one cover.
They introduce themselves with the Bo Diddley like “The Vivone song”, intoxicating drum beat, cigar box guitar sound and the two female backing vocals accompany Jason’s great singing. Legendary Blues singer Jim Jackson wrote “Kansas City Blues”, an up-beat rocking Blues with Jason sliding brilliantly and featuring Sam Platt on trombone. The title song is a hypnotic slow Blues about Independence Avenue, where Jason used to live for a while and the swinging “Hello Mrs Radzinsky” showcases stunning trade-offs from slide guitar and electric banjo. On the Motown style “My heart is in the right place” the band goes wild and each one gets his limelight moment. The final instrumental track “His honor, the mayor” is brought forward by Jason solo on Nicotina, his beloved cigar box guitar.
The album is a must for fans of southern Blues the songs are all about Kansas City’s Independence Avenue, a place with beautiful Victorian houses unfortunately one of the most dangerous places in the States today.
© Adolf „gorhand“ Goriup


Mark Cameron "Playing Rough"
Cop Records, 2016

www.markcameronmusic.com

Minnesota based singer/songwriter Mark Cameron (vocals, guitars) released his fourth album with 12 new original songs, recorded together with Bill “Killer” Keyes (vocals, harmonica), Sheri Cameron (flute, shaker), Scott Lundberg (bass, vocals), Dan Schroeder (drums), producer Nick Salisbury on additional bass, sound engineer Greg Schutte on percussion and a few guest musicians and singers.
Jason Craft plays the Boogie piano on “Doctor in the house”, the rhythm section creates the intoxicating pace, Keyes adds his wicked harp and Cameron a fine guitar solo. “Somewhere down the line” is a funky Blues-rock showcasing Craft on Wurlitzer and Hammond, the Soul singers Tonia Hughes and Sara Renner as well as the brilliant rhythm guys. The 7 minutes ballad “Bluesman’s lullaby” starts with melancholic harmonica and flute themes and accelerates the pace to a powerful Rock ballad with guitar and harmonica. Cameron’s slide guitar starts the stomping “Done me wrong”, Keyes adds his harp and Scott Sansby joins on washboard and bones. Keyes is “Hammered to the Blues” by the band and Cameron kicks the rollicking title song off with meaty guitar riffs. “Close my eyes” is a stunning a Capella performance by Cameron and Keyes driven by stomps and chains.
Mark Cameron has recorded a well-balanced album between Rock and Blues, ballads and harmonies and is accompanied by great musicians, check him out @ www.markcameronmusic.com!
© Adolf „gorhand“ Goriup


The Mighty Mojo Prophets "Record Store"
Mojo King Music, 2016

www.mojoking.com

The Mighty Mojo Prophets are a six piece Blues band from Long Beach CA featuring Tom Eliff (vocals), Mitch Dow (guitar), Dave Deforest (bass), Tom Richmond (diatonic and chromatic harp), Mike Malone (piano, organ) and Al Ricci (drums). On their latest release they present 13 tracks penned by Eliff and Dow.
They start off with the up-beat Blues-rock song “Crazy love” showcasing some brilliant improvisations on guitar and harp driven by the steady pace of drums, bass and piano. The wah-wah guitar kicks off the title track, a stunning mix of Soul, Blues and Funk and “Strong together” is a slow Blues both featuring Malone on organ. They accelerate the pace for “West coast girl”, a jazzy song with stunning harp work driven by the pulsating bass line and “Spider and the fly” is a funky Blues with a cool west coast groove. Other highlights are the shuffling Blues-rock “Wondering” and the final old time Blues instrumental “All thumbs”.
The Mighty Mojo Prophets are six excellent musicians playing West Coast Blues at its finest, check them out @ www.mojoking.com!
© Adolf „gorhand“ Goriup



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


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