Peach/Skeoch "Peach/Skeoch" [EP]
Own Label, 2016
Four tracks, sixteen short minutes, to appreciate the music of harpist Becca Skeoch and accordionist Joseph Peach. It's not enough, partly because this pair cram this EP with new ideas too numerous to absorb, and partly because there's so much more they can do. Joe Peach recently released a duo album with fiddler Charlie Grey which shows a more traditional side of his music. Here Peach pumps Paddy's by fellow box-player Shona Kipling, and Sidney Grove by Borders harpist Rachel Newton, while Becca sparkles on Corrina Hewat's Berserk. There are some rough edges, but the pair come together perfectly for Amy Thatcher's funky Northumbrian East Meets West. It's all angels and demons so far, and I'm betting Wim Claeys and Tellef Kivfte are also masters of either harp or squeezebox: their two compositions end this snapshot of Peach/Skeoch in grand style, big tunes for a little group with lots to offer.
© Alex Monaghan
Tannara "Trig"
CPL-Music, 2017
Up and coming is a Scottish offspring with quite a capability, Tannara, featuring
Becca Skeoch (harp), Joseph Peach (piano accordion, piano), Cameron Ross (fiddle) and Owen Sinclair (acoustic and electric guitar, vocals).
Joseph and Becca are also performing as a duo (see review above). Tannara's debut album, produced by
harpist-composer Rachel Newton,[61]
had been nominated at the Scots Trad Music Awards. "Trig" makes use of a litle bit of studio trimming, but
captures the rawness of a live gig. The Tannara sound is deeply rooted in the Scottish tradition and put somewhere
inbetween the broad spectrum of contemporary acoustic music. The quartet has mixed their own instrumental tunes with
melodies from fellow artists such as Chris Stout, Tola Custy, Eilidh Shaw etc. The arrangements are
intricate, at times it feels as if Tannara is supposed to leave the sonic space of their native shores.
To come full circle, Owen unpacks the electric guitar and subjects his band members to a further jolt.
He is also a striking vocalist, revitalising the Scottish song heritage.
"Three Ravens" (better known in Scotland as "Twa Corbies" with a different melody) is one of the big ballads
collected by Francis James Child (#26) with the grim tale of the birds in question discussing their feast on the battlefield.
"When First I Came To Caledonia" does not refer to Scotland, but to a coal mining pit on Cape Breton Island, Nova Scotia.
"The Death of Queen Jane" is another Child ballad (#170), probably referring to Jane Seymour, the third wife of Henry VIII.
The latter song is a microcosm of everything that Tannara sets apart from the work of their peers:
a both traditional and cosmopolitan canto on top of a spirited presentation.
Aye, Tannara is a smart outfit, catch them live this summer at Cambridge or Lorient festival!
© Walkin' T:-)M
Jack Talty "In Flow"
Raelach Records, 2016
Jack Talty is a traditional Irish musician from Lissycasey in Co. Clare, whose œuvre can be found on more than
three dozen albums. Two years ago, his Ensemble Ériu had been awarded by Irish language broadcaster
TG4.[53]
Now Jack Talty presents his solo concertina playing (backed up by John Blake and Ruairí McGorman’s guitar and bouzouki)
on his own Raelach Records label (see also above and below for other releases). The album title fits well,
Jack Talty's execution is gently flowing like an undisturbed watercourse. He glides along with both
technical prowess and soulful spirit.
His tune selection, mostly jigs and reels, revisits some popular places, though some have been almost buried in oblivion.
His original "Stephen's Waltz" is a paradigm incarnate of his flow concept.
Eventually, Jack Talty turns out to be an expert of the slowest pace at all.
The airy "Bóthar Chluain Meala" (The Clonmel Road) is the tune of an old Irish song,
whose execution is mind-boggling and gobsmacking.
© Walkin' T:-)M
Cormac Begley "Cormac Begley"
Own label, 2017
Talking about traditional Irish music in Co. Kerry, you can't omit the musical Begley (Ó Beaglaoich) family
from the Dingle Peninsula. Séamus Begley has worked with guitarists such as Stephen Cooney, Jim Murray and Tim
Edey,[39]
and recently joined the group Téada.[48][53]
His younger brother Brendan played with the group Beginish (ft. fiddler Paul O'Shaughnessy and flutist Paul McGrattan),
besides recording several solo albums.[23][48]
As a kid, Brendan's son Cormac had been annoyed:
"I remember being in bed at three or four o’clock in the morning and I’d be banging on the floor downstairs. My parents
would be up partying and playing music." Eventually, at the age of 17, he picked up the concertina, inspired by the
musical tradition of West Kerry, East Clare and Sliabh Luachra, and musicians such as Denis Murphy, Paddy Canny
and Martin Hayes. Five years ago, he released a critically acclaimed album with fellow concertina player Jack Talty (see above).
His self-titled solo album is insightfully using
the full range of concertinas from bass, baritone, treble and piccolo. He emphasises all the
instrument’s possibilities. Each track features one particular concertina and has been recorded in one single take.
Cormac offers a nice selection of not only jigs and reels, but polkas and Scottishe as well. He is also a fine
executor of tunes of the slowers variety, namely the lullaby "Rocking The Cradle" and
the slow air "Beauty Deas an Oileain" (The Fine Beauty Of The Island).
Watch out to catch him live; Cormac plays in a numer of groups, namely a trio named Concertina featuring
Noel Hill[48]
and Jack Talty, the band Ré featuring Liam Ó Maonlaí.
He is also the founder of the Tunes in the Church concert series in
St Nicholas Collegiate Church, Galway, and Dublin’s Unitarian Church (www.tunesinthechurch.com),
to give traditional music a place outside the tourist circuit:
"I wanted a respectful environment for the musicians to play which wasn’t there before that," he says. "I wanted
to make a home outside of the pub. I was looking around at all these leprechaun-type shows."
© Walkin' T:-)M
Ross Couper + Tom Oakes "Fiddle + Guitar"
Haystack Records, 2017
Shetlander Ross Couper is playing traditional Scottish fiddle since the tender age of 8.
He was a founding member of the trad group Bodega[40]
and recently he joined Celtic fusionists, the Peatbog Faeries.[60]
Originally from Devon, England of Irish roots, Tom Oakes teaches traditional wooden flute at the Royal Conservatoire of Scotland.
Besides, he plays an intricate guitar all the way from jazz music to various ethnic styles.
Recently, he took part in the Songs for the Voiceless project.[55]
Ross and Tom have become close friends while studying together at Newcastle University, and today
claim more than 1,000 concerts as a fiddle and guitar duo
where they got to know each other inside out, developed a mutual understanding and
honed their skills on the road. Their debut studio album "Fiddle + Guitar" is simply titled, and adheres
to a simple formula: just two musicians, one fiddle, one guitar, a couple of tunes,
and fire under their belts. The album copycats one of their spicy
stage shows; fiery fiddling and jazzy guitar adding up to a 21st century Highlands & Islands extravaganza.
The track list features original compositions by Ross and Tom (such as the oddly titled "Sunburn, Man-flu and The Shits")
and traditional-style compositions by contemporary trad artists such as
Scottish bagpiper Allan MacDonald and accordionist Phil Cunningham,
or Canadian fiddlers Dan R MacDonald and Denis Lanctot, from Cape Breton and Quebec, respectively.
Ross and Tom leave the Shetlands for Nordic shores, including Norwegian guitarist and (hardanger) fiddler Vidar Skrede's
"Apo Fetlar Top" and guitarist Annlaug Børsheim‘s lovely Norwegian polska "The Lounge Bar"
(of Djønne & Børsheim).[50]
© Walkin' T:-)M
Seamie O Dowd & Kieran Quinn "melodic reflection"
Own label, 2017
Now this here is pretty different. The guitar leads the melody with the piano backing up, then both are changing parts.
Since this is supposed to be a kind of jazz folk we get some exciting improvising and solos besides rhythmic grooves
and beautiful traditional Irish melodies. There are supposed to be no boundaries.
In the end we get some pretty exiting interpretations of stuff such as The Musical Priest reel, featuring
virtuosic and powerful playing in a jazz-influenced setting.
Seamie O Dowd had once started on the traditional fiddle, playing fleadhs, sessions and small gigs alongside his
fiddling father. Eventually he took up the guitar and made his moves in the Sligo folk and blues scene. Since then
he has gone on to play with Dervish,[26]
The Unwanted[39]
and New Road.[61]
Kieran Quinn comes from Australia but had been raised in Sligo. A decade ago, he turned from GAA footballer to
professional musician, playing keyboards on Ennio Morricone's Dublin concerts, for example, and portraying
a jazz musician in Ken Loach's feature film, Jimmy’s Hall.
Kieran had known very little about traditional Irish music until he met Seamie.
Two years ago, both joined forces and tried to create a guitar and piano duo, where both are supposed
of being lead as well as rhythm instrument, thus exploring the relationship between trad, folk and jazz music,
or establishing them if not existing to give birth to a new musical form.
Most tracks are instrumental, but expect some songs too. Seamus is crooning his way through a rootsy
Dirty Old Town. In the 1980s, the song had been turned into a straight and catchy crowd puller by The Pogues.
Ewan MacColl's original recording had been rather a swing than a folk music routine; and the Dowd/Quinn version here
comes full circle restoring the jazz-like approach with interludes reminiscing the Chattanooga Choo Choo.
P.S.: Seamie and Kieran have a Monday night residency in Thomas Connolly's Pub in Sligo Town
(www.thomasconnollysligo.com). Catch 'em if you can!
© Walkin' T:-)M
Adèle Commins and Daithí Kearney "A Louth Lilt"
Own label, 2017
Both Adèle and Daithí have in common a teaching post at Dundalk Institute of Technology,
in Ireland's smallest County Louth, named after the ancient Irish god Lugh,
and both contributed to The Companion to Irish Traditional Music[47]
and The Encyclopeadia of Music in Ireland.
Musicologist Adèle Commins grew up in the locality, did develop
a deep affection for the traditional music of the area,
took up the piano accordion and joined local céilí bands.
Ethnomusicologist and geographer Daithí Kearney is an All Ireland banjo champion from Co. Kerry,
who has toured and recorded with a number of groups including the group Nuada and The National Folk Theatre of Ireland.
Recently, he released an album with accordion player John Cronin influenced by the musical heritage
of Sliabh Luachra. Now he has teamed up with Adèle to explore the music of the Louth region
(or the ancient Oriel kingdom)[56]
and continue it with their own compositions in traditional style. Their newly composed tunes have been inspired by people and places.
The pairing "From Kerry with Love / From Louth with Love" were composed as gifts for their parents, respectively.
"Ferdia’s Battle" march refers to the warrior’s battle with mythological hero Cúchullainn, as outlined
in the famous Táin Bó Cúailnge (Cattle Raid of Cooley) legend.
"Bluebells of Love" has been inspired by Monaghan writer Patrick Kavanagh’s poem of the same name.
At times, inspiration comes from a distance. The Italian reels were composed during a trip to Italy,
"A Telemark Tune" was written at Rauland campus, Norway, inspired by the snowy landscape and the sound of the Hardanger fiddlers.
The sunny "Porto Alegre’s Dream" then was composed for their friends in Banda Celta in Brazil, a place famous for its sunsets.
Altogether, the genius of the album lies in its apparent simplicity. Arrangements are elementary, tempi are at a moderate pace.
To allow easy access to any tune on the album, you can download the melody lines from their website.
© Walkin' T:-)M
Damien McGeehan "The Tin Fiddle"
Own label, 2016
Tin fiddles (the main body is handmade from tin) were easily made and easily repaired by a skilled tinsmith;
a major advantage at a time when proper instruments were scarce and expensive.
Few examples are still in existence, but tin fiddles were once common
all over Europe, but especially popular in the Irish Co. Donegal thanks to the travelling fiddlers and tradesmen
of the celebrated Doherty family. Damien McGeehan is known to us as a first-rate fiddler from the acclaimed Donegal trio
Fidil,[42][47]
that unfortunatly doesn't seem to exist anymore. His solo album takes his extraordinary approach one step further.
He only uses a single tin fiddle to fabricate various individual sounds through bowing, plucking and tapping,
and subsequent multi-track-recording to create a richly layered ensemble sound featuring arpeggios, drones and double octaves.
It might come as a surprise that the sound of the tin fiddle is rather sweet and smooth, thanks to a tuning
below concert pitch to avoid breaking the neck from the body by the string tension.
The set list comprises traditional fiddle tunes from Donegal (such as
the well-known reel "The Gravel Walks to Grannie," which is named after the Glen of Grannie in Ardara,
and several pieces from the repertoire of master fiddler John Doherty and Damien's great-grandfather Peadar O’Haoine)
as well as Damien's own compositions. Of course, the latter is informed by traditional music.
The opening track, "O'Rourke's Highland," has been written
in honour of Ardara fiddle player Paddy O'Rourke who inspired Damien's own playing.
However, he is not timid to provide a whole shebang off the beaten track.
"The Tinsmith" has been inspired by Duke Ellington's "Caravan" and Reinhardt/Grappelli's "Minor Swing".
"The Last Day of Summer" evolved from a pizzicato piece into a march with improvised passages.
"The Waterfall" then, precisely the Assaranka waterfall at Leaconnell near Ardara,
has been influenced by so-called descriptive pieces, though Damien's sonic description is a rather
transcendental take on that traditional form (which brings stuff such as fox hunts etc. to life).
After all, "The Tin Fiddle" is an unrivalled listening experience.
Caoimhín Mac Aoidh has provided some informative liner notes, detailling
the history of the tin fiddle and its place in the fiddle tradititon of Donegal.
© Walkin' T:-)M
Tony Mac Mahon "Farewell to Music"
Raelach Records, 2016
In case you haven't heard of him, Ennis-born Tony Mac Mahon is a well-known button accordionist,
whose main inspiration had been the legendary Joe Cooley, who had been a frequent guest at his parent's home
in the early 1950's, and he had adapted Cooley's press-and-draw-style.
In 1974, Mac Mahon was a founder member of the trad group Seachtair, which later developed into the iconic
Bothy Band.[30]
Tony himself enjoyed a long career with RTÉ as a broadcaster and producer of traditional music radio and TV programmes.
Rather insecure about his own artistry, he hasn't recorded very much himself. Sadly, he
struggled with bipolar disorder and Parkinson's disease, and reportedly had even planned his own assisted suicide.
In 2009, before completely retiring from public performance due to a hand tremor, fiddle player Caoimhín Ó
Raghallaigh[27][54]
suggested to him to record one last great album, for he he still had a major artistic statement in him.
Thus Tony entered St Audoen's Church in Dublin's Liberties area to do what he is best know for, the exceptional and energetic
execution of slow airs. It seemed to Raghallaigh the right place for him to confront himself as an artist: a cold, hard, lonely environment, one
with no distractions, and a whole dark world of depth of feeling.
Way back in the 1960s, Tony had shared a flat with piper and
singer Séamus Ennis,[41]
whom he credits as an important influence. Seamus had once quipped, you need to know the lyrics to an air for a comprehensive rendition.
Tony has mastered the art. His execution is deeply moving with a melancholic festive mood and, yes, also
anguish and pain. Of course, the selection starts with "O'Carolan's Farewell to Music",
subsequently followed by another Carolan tune, "Mabel Kelly," and several more or less known airs
(Seán Ó Duibhir a' Ghleanna, An Buachaillín Bán, James Connolly, etc), including "Anach Cuain"
and "Amhrán na Leabhar" which also have words of 18th century Gaelic poets Antoine Ó Raifteiri and Tomás Rua Ó Súilleabháin, respectively.
When the album was launched in Dublin City Hall in November 2016, Tony Mac Mahon once again took the stage
and played an enthralling "Farewell to Music," which gave Tony's swan song its title.
For sure, we will alway remember.
© Walkin' T:-)M
The Maguires "Little Giants and Other Oxymorons"
Own label, 2016
The Maguires are three kids, Emma (fiddle, flute, piano), Aoife (concertina, uilleann pipes) and
Seán (bodhrán), aged 17, 15 and 11, respectively, and their guitar-playing dad Philip.
They are literally playing together since dumping their nappies.
Nearly five years ago, the Maguires took it more seriously, formed a family band and eventually had
their first concert in Bray, Co. Wicklow, in 2014.
Their debut studio album kicks off briskly with old session reels that often open their gigs,
"Fergal O’Gara’s / The Hunter’s House / Speed The Plough".
Consequently, it finishes off with "The Mason’s Apron / The Humours Of Tulla / The Reconciliation Reel,"
their last set live (usually preceded by Seán's bodhrán solo, which is not featured here, so you have to
go to a concert). This sets the spirited tone. However, they also deliver
a slow reel originally written in E flat major, played in D major, hence titled "The Flattened E Flat Slow."
Sandwiched inbetween, half of the tracks have been composed by Emma, Aoife and Philip,
are the air "O’Carolan’s Draught" and the Brazilian choro "Tico Tico".
The album is the union of teenage fury and an ongoing understanding for the tradition.
Only recently they had their first international gig (in Mulligan's Bar in Amsterdam)
and are currently preparing for an upcoming US tour. Little Giants, indeed!
© Walkin' T:-)M
Gary Innes "Era"
Own label, 2017
Accordionist Gary Innes from Spean Bridge in the Scottish Highlands has
released his first solo album "How's the Craic" in 2005 and has since collaborated with artists such as
Ewan Robertson (Breabach),[42]
and most importantly Celtic fusion band Mànran.[62]
Twelve years after, he presents his second solo album, ERA.
He says, "I have called the album ERA as I feel it’s the end of
a substantial chapter, or indeed era in my life. Due to my increasing musical commitments, I retired from my beloved
sport of Shinty in 2014 and for the same reason finished up with the Scottish Fire and Rescue service after 15 and
a half years in 2015. Last year saw the beginning of the new era with the birth of my first little niece Zara and
now my second niece is on the way. I am also getting married this year so it feels like life is very much starting
to move me in a different, very significant direction and I wanted to not only recognise this but also to celebrate it."
Gary celebrates this with grand style, inviting pipers Jarlath Henderson and Ali Hutton,
fiddler Ewen Henderson, flutist and keyboarder Hamish Napier,
bass player Duncan Lyall, electric guitarist Alec Dalglish, and drummer Steve Byrnes.
The menu consists of Gary's original tunes and songs.
Starter, "Yarra Wine Valley," is a tasty dish, showcasing anything Gary has to offer on buttons and keys.
"The Road to Lochaber" beautifully envisions the scenery between Glasgow and Spean Bridge as driving through the
romantic Glen Coe. "The Highland Obama" is named after a painting of Gary playing accordion on the wall of
Hootananny’s in Inverness which looks a little bit like the ex US president. Gary's execution is always spirited
with an epic nature at times.
He has written the throbbing "Caman Man" after retiring from the undeniably greatest sport of them all, shinty (the Scottish version of
field hockey or hurley, the stick is called caman). Singer Robert Robertson is responsible to give it a local accent.
"Grace and Pride" then had been inspired by the unsuccessful 2014 referendum to gain Scotland's independence.
Skerryvore's Alec Dalglish has been the right choice to voice expectations and disappointments.
Eventually, Siobhan Miller delivers a cathartic piece about family hardship dedicated to Gary's niece, "Zara".
© Walkin' T:-)M
Mícheál Darby Ó Fátharta "An Rithim Réidh"
Own label, 2017
The CD cover by Galway artist Dara McGee displays a screeching seagull cowering on a melodeon before the beautiful Connemara scenery.
Irish melodeon player Mícheál Darby Ó Fátharta from Cois Fharraige has returned with a new album to give the instrument
its proper place and destination, whose title, the steady rhythm, refers to his relaxed and sparsely ornamented style of
playing, which suits the dancers - though I reckon that Connemara boys and girls would prefer a faster pace.
Mícheál credits Johnny Connolly as his main inspiration as well as PJ Hernon and Bobby Gardiner.
Unassuming as it might be, behind the buttons lurks a musical mastermind.
His one-row Castagnari D melodeon has a particular mellow sound.
The tune selection comprises especially traditional tunes. There's a great variety besides the jigs and reels, including Junior Crehan's
hornpipe "Caisleán an Óir", Texan Luke Thomasson's waltz "Midnight on the Water" (as recorded by Mairtin O'Connor),
a set of flings (taken from the Mulcahy's 2005 album Notes from the Heart), and eventually a slow reel
("The Glen of Aherlow", better known as Lafferty's Reel) and a slow air ("Cúirt Bhaile Nua").
Mícheál is joined by flutist Muireann Nic Amhlaoibh (Danú),
banjo player Dessie Kelleher, double bassist Trevor Hutchinson and guitarist Donogh Hennessey,
who also employed his production skills to the album.
© Walkin' T:-)M
Ushers Island "Ushers Island"
Vertical Records, 2017
A new supergroup has made its debut, assembling two generations of acclaimed traditional Irish musicians.
After the latest Planxty formation ended their run once and for all in 2005, Andy Irvine[48]
(mandola), Dónal Lunny[63]
(bouzouki) and Liam O'Flynn teamed up with Paddy Glackin[55]
(fiddle), a fellow Bothy Band co-founder who had left shortly before the group really took off,[30]
and formed a new group named LAPD (= Liam, Andy, Paddy, Dónal).
When O'Flynn called it a day, Mike McGoldrick[31]
(flute, uilleann pipes) of Flook,[1]
Lúnasa[5]
and Capercaillie[52] fame
and John Doyle[46]
(guitar) of Solas[32]
were approached. The new outfit was named Ushers Island, referring to a stretch of the Dublin quay.
Two years after their live debut, this self-titled studio album is a mirror of
their live set and stage sound, featuring traditional jigs, reels and hornpipes as well as songs
from Irvine and Doyle. The sentiment is elementary and unassuming, however, it doesn't disappoint and it is able to
light a fire with a touch of up-to-dateness.
The "Half Century Set" from the 19th century James Goodman collection kicks off the album with the
prevalent twin rhythm of Andy's mandola and Dónal's bouzouki, intensified by John's guitar here,
before fiddle and flute make their sophisticated attack.
Ushers Island can boast of two superb vocalists. Still going strong, Andy Irvine doesn't sound a bit like 75.
He tackles the traditional "Molly Ban" and "Felix the Soldier" (from the French Indian War of 1758/59)
in a relaxed manner. His original "As Good As It Gets" is an old man's reminiscence about his adventurous
exploits in late 1960's Slovenia. It is reminding us that he returned from the Balkans with East European
rhythms and instruments and had thus made a major contribution to contemporary Irish music.
John has written "Heart In Hand" about Richard Joyce, who was captured by Algerian pirates in the late 17th century
and invented the popular Claddagh ring during his enslavement. "Cairndaisy" tells ths story of an
Irish emigrant fighting in the Spanish-American War of 1898. His take on the the classic Irish folk song "Wild Rover" is far removed from
the Dubliners version and its zillions of copycats; instead he turns this rousing drinking song into a rather delicate ballad.
Finally, Dónal has one of his rare vocal outings. He revisits the comical Connemara song "Bean Pháidín" ((Páidín's wife),
which Planxty had recorded more than four decades ago. Coming full circle, with the next orbit under way...
© Walkin' T:-)M
Donald Black "Bho m' Chridhe - From My Heart"
Own label, 2017
Argyll-man Donald Black had discovered the moothie, as they call the harmonica in Scotland,
at the tender age of 4. Way back in the early 1990s, accordion maestro Phil Cunningham became alert
and Donald recorded the first of several solo albums.[17]
Twenty years later, he is considered the first and foremost performer on the Scottish diatonic harmonica.
(We German harp aficionados are familiar with Donald's name due to Christoph Wagner's book Die Mundharmonika.)
Donald is a master in translating the music of the Scottish bagpipes and Gaelic song without any effort
to his instrument of choice (in Germany sometimes referred to as the poor man's bapipes),
displaying profound perception. So here's his fifth album, aptly titled "Bho m' Chridhe" (From My Heart).
The albums kicks off with the "Spogan" hornpipe from the pen of Pipe Major Donald Morrison,
followed by a varied selection of traditional and more contemporary pipe reels, jigs, marches
(such as "The Hills of Glengarry" by the late Shooglenifty fiddler Angus Grant),
Highland Scottische (which are 2/4 Marches), polkas, waltzes (two fine examples
from Malcolm Jones and Blair Douglas, respectively) and song airs. Most of the tunes are Scottish
in origin, with some detours to Ireland. Two more airs, "Bruach Na Carraige Báine" (The Edge of the White Rock) and
"Jimmy Mó Mhíle Stór", show his sublime handling of the slower tunes.
Eventually, Donald even introduces a Cape Breton set, including two-step, clog and reels.
The album features accompanists such as Runrig's Malcolm Jones and Skerryvore's Alec Dalglish, and guests such as
Blazin’ Fiddles' Allan Henderson.
© Walkin' T:-)M
Ronan Le Bars Group "An erc'h kentañ - The First Snow"
Coop Breizh, 2016
Ronan Le Bars hails from Guingamp in the département of Côtes-d’Armor in Britanny. At the tender age of 8,
he discovered the Scottish bagpipes (which his father Adolphe played with Bagad Sonerien Bro Dreger). At 16,
Ronan listened to the Irish trad group Planxty and fell for the uilleann pipes as played by Liam O'Flynn. It had been
a revelation to take up the Irish version of the bagpipes,
whose bag is inflated by a set of bellows strapped around waist and arm (instead of blowing into a blowpipe),
whose chanter has a range of two full octaves including flats and sharps,
and whose regulators allow a rhythmic and harmonic accompaniment.
The uilleann pipes are also sounding much sweeter than many other bagpipes.
In 1990, Ronan joined the dance band Pennoù Skoulm (featuring fiddlers Jacky Molard und Christian Lemaître,
flutist Jean-Michel Veillon and guitarist Soïg Sibéril).[39]
He was part of Dan Ar Braz's L'Héritage des Celtes,[38]
collaborated with jazz musician brothers Gildas and Jean-Baptiste Boclé,
before joining The Celtic Social Club in 2014.[56]
He had also founded his own Ronan Le Bars Group, featuring fiddler Pierre Stephan,
guitarist Nicolas Quemener and double bassist Pierrick Tardivel.
Ronan doesn't play Irish music on his uilleann pipes, but goes in for a ramble through different parts
of Britanny and their particular traditional musics such as a Laridé Gavotte from Pontivy
or a Dañs Fisel from the Rostrenen area.
The group's music is virtuosic and furious. However, virtuosity is never an end in itself. Ronan takes a deep breath
with the epic title track "An erc'h kentañ" (The First Snow).
"Nu Alrest," recalling the crusades, is from medieval poet Walther von der Vogelweide,
and eventually "Dérobée de Guingamp" is slipping away from his native home with the
Breton version of a North Italian tune, presumably acquired and brought to France by Napoleonic soldiers,
all the way to a Bulgarian horo. In the end, it's been a fine album and It Was a Nice Day,
as Ronan so aptly titled one of his original waltzes.
© Walkin' T:-)M
Bran "Beaj vat!"
Keltskahudba.cz, 2016
Bran,[31]
which is Breton for raven, the harbinger bird of ancient Celtic lore, had been
founded in the Czech capital Prague way back in 1999, when an expatriate Breton
teamed up with local Czech musicians, namely Robert Fischmann (vocals, flute), Helena Marková (saxophone),
Tomáš Görtler (accordion), Vojtěch Jindra (acoustic & electric guitars), Petr Tichý (double bass) and Petr Mikeš (drums).
The different musical background of each band member lead to Bran's unique sound.
Flute and accordion place their music in traditional dance music,
double bass and drums take it into the folk rock realm,
while the saxophone provides some melancholic and psychedelic overtones.
The Breton, as you can guess, has left the group years ago, but the
sextet still cultivates their love for traditional Breton music, featuring a couple of traditional songs from
the north-west of France, including the well-known "Son Ar Chistr" (The Song of the Cider), which has become famous
by singer-harpist Alan Stivell in the 1970s and particularly by Dutch band Bots under the name of "Zeven dagen lang / Sieben Tage lang (Was wollen wir trinken)".
The group also tries the popular French "Bonsoir, maitre de maison" (which had been recorded by Sonerien Du and others)
and extend their musical formula, as described above, to other shores as well. Here it is the Burns song
"Ye Jacobites By Name", the traditional Czech song "Jen Vítr Kdyby Vál", and an original song in the Czech
language written by Vojtěch Jindra. Bran have summarised all this in their album title:
Beaj vat! Happy journey!
© Walkin' T:-)M
TRADarrr "Further Tales of Love! Death! and Treachery!"
Hedge of Sound Records, 2017
Almost 50 years after Fairport Convention's[63]
Liege and Lief album almost single-handedly invented English folk rock,
drummer/multiinstrumentalist Mark Stevens and electric guitarist P.J. Wright
had the feeling that there were untrodden trails and blank areas yet to discover.
Out of this sentiment, they recorded the album "Cautionary Tales"[57]
and assembled a touring band afterwards. TRADarrr's second album offers some
Further Tales of Love, Death & Treachery from the English song tradition, featuring some
well-known people (Spencer the Rover & the Bonny Lass of Anglesey) and places (the Lowlands of Holland & the Cuckoo's Nest).
The tempestuous "Winter Winds" had been lifted from an old broadside ballad;
"Dream Not of Love" is a song from the 19th century farmworker-turned-poet John Clare.[24]
The north-eastern "Rap Her to Bank" is originally recounting the last shift of an old miner before retirement;
with additional lyrics it has become a funeral eulogy for the British coal mining industry and the affected communities.
TRADarrr are well equipped with three fiddlers and six brave male and female singers.
Otherwise "Further Tales" is a sonic celebration of 1970's English folk rock,
infused with grand ideas, infectious rhythms and splendid musicianship.
© Walkin' T:-)M
Deirdre Starr "Between the Half Light"
sloanstarrstateofmind, 2016
This is not the Irish summer party album, but rather grounded in the melancholic and wistful wintertime.
Deirdre Starr[34][39]
is a Maid that's Deep in Love from the Verdant Braes of Skreen and the Streams of Bunclody
to where the Sweet Thames Flow Softly. Even the shanty song Leave Her Johnny is rather gently
rocking everybody to sleep than rocking the boat. Furthermore, Deirdre has written the title track for her recently
departed sister, "Between the Half Light," evoking the twilight time between day and night when the banshees wail and
the dead make an appearance. Yet, the Month of January is eventually all over
and the Snows They Melt the Soonest, as they say. Deirdre Starr's fifth album is made up of the most beautiful
traditional music – sad, soulful and spooky. Her bell-like singing voice is almost celestial and angelic, though deeply
touching and human. She plays the piano, with the occasional support from fellow artists such as accordionist
Dermot Byrne (Altan), flutist Alan Doherty (formerly of Gráda), fiddlers Máire Breatnach and Tola Custy.
© Walkin' T:-)M
Robbie Bankes "Foothills"
Own label, 2016
At the tender age of 20, singer-songwriter Robbie Bankes presents himself like a seasoned folk musician.
He hails from Calgary in the West Canadian province of Alberta, but is currently pursuing
a Bachelor of Folk Music at the Høgskolen i Sørøst-Norge
(The University College of Southeast Norway) in the small town of Rauland, Telemark.
After a first release of demo tracks, "Through February Snow,"[59]
Robbie Bankes makes a great impact now with his debut long-playing record, "Foothills."
It kicks off with a version of the Child ballad "Geordie," with lyrics unearthed in America and set to an original tune.
"The Unquiet Grave" is an English folk song collected by Francis James Child too.
Robbie also deals with the US Civil War era love song "The Blackest Crow" and the Scottish
"Seven Gypsies" (a variant of the better-known "Raggle Taggle Gypsy" credited to Nic Jones).
This builds a bridge to Robbie's own poetic and metaphorical songs, constructed upon the firm bedrock of traditional music but
reinforced with an injection of modern ingredients. Whereas the mood remains reflective and contemplative throughout
(his "Ivan, Ivan" is even inspired by a bleak old Norwegian tune),
sonic tone and vocal delivery get their bearings from contemporary folk rock, at times
aiming at a (restrained) big band sound with bass, drums, pedal steel and all.
Robbie plays guitar and fiddle himself, throwing in an original banjo tune for good measure,
to provide an all-round carefree folk music package.
© Walkin' T:-)M
Black Bank Folk "Rising"
FSS Records, 2016
John Colbert and Jimmy Sheeran, known as Black Bank Folk, have grown up close-by in North Dublin,
where they played trad and cover music in the pubs in the past decade. Their debut album
"Rising"[62]
is caused by the fact that John's great-uncle Con Colbert was one of the leader of the Easter Rising.
On Easter Monday 1916, insurgents occupied the General Post Office and proclaimed the independent
Republic of Ireland. One week later, nearly 500 rebels have been killed and their leaders, including
the 27-year-old Con Colbert, have been executed by the British.[59]
Colbert and Sheeran's concept album,
however, does not want to uphold the flag of Irish patriotism, but rather recount the little human
stories within the great historical events: the convicted Joseph Plunkett, who marries his Grace the
day before his execution; Patrick Pearse's[60]
brother Willie, who has not bore any weapon, but is
convicted only because of his kinship. Since John Colbert is the bass player in Damien Dempsey's[35]
band, he had also access to his fellow band members. Dempsey himself wrote and sung a song about his great-aunt
Jennie Shanahan, who took part in 1916. Musically Blackbank Folk use catchy folk and country music,
modern but with a particular Celtic touch. The duo is supposed to continue after the end of the whole
Easter Rising celebrations. Which direction it will take is uncertain for the time being, but absolutely welcome.
© Walkin' T:-)M
Ana Alcaide "Leyenda"
Own label, 2016
Nowadays in 2017, Ana Alcaide has become one of the most solid pillars in central Spain’s folk music scene.[42]
‘Leyenda’ (‘Legend’) is Ana’s fourth CD, once again full of the harmony and delicacy that characterized her previous work. The main sources of inspiration in her prior recordings (‘Viola de Teclas’,
‘Como la Luna y el Sol’,[55]
‘La Cantiga del Fuego’,[48]
were the traditional songs and the history of the ‘Sefardíes’ (the Iberian Jews in the diaspora, to stay away from the Spanish Inquisition), this time are the old legends and the arcane myths the ones which fuel the flame in these twelve new songs in ‘Leyenda’. Ana’s pristine voice and her Swedish nyckelharpas are once again her preferred paintbrushes for the acoustic portraying of stories such as: ‘Diosa Luolaien’, song with Nordic beat and lyrics inspired by an old Chinese legend, ‘La Ondina de Vacares’, telling a legend from Sierra Nevada (Granada, Andalusia, S-Spain), ‘La Mujer Muerta’, another old story about the formation of the mountain chain in Sierra de Guadarrama (Segovia, Central Spain), ‘La Lamia de Kobate’, based on a Basque legend, or ‘La Esposa Selkie’, a fable about the sort of seal mermaid in the Irish, Scottish, Faroese, and Icelandic folklore. All the tales in these songs are inspired on powerful female mythological figures from around the world. Musically speaking it is evident that Ana’s new style is putting some distance with respect to frequent traditional rhythms that defined her early work. You can still find some of them in the instrumental song ‘Folía de la Primavera’, with quite Spanish sonorities, and wise combination of the nyckelharpa and the guitar played by Rainer Seiferth. ‘El Puente the San Martín’ introduces some Arabic beats and melodies, while telling a story about the wife of the architect (‘alarife’) of the bridge of Saint Martin in Toledo. Not to be forgotten the vibrant closing tune in the CD: ‘Akelarre’. Besides Ana (nyckelharpa, keyboards, voice), Rainer (Spanish, baroque & acoustic guitars, cittern), and Ana’s loyal instrumentalist in her prior albums, Bill Cooley (psaltery, medieval lute, santur), the other musicians in ‘Leyenda’ are: Bruno Duque (whistles, dulzaina shawm, moxeño flute, xaphoon, ney), David Mayoral (all kinds of percussions), Paul Castejón (hang, keyboards), Renzo Ruggiero (hurdy-gurdy), Wafir S.Gibril (accordion), Isabel Martín (voice), Laura Fernández-Alcalde (voice), Jan Grimbergen (oboe d’amore), Oreka TX (txalaparta). The lyrics (all of them in Spanish) are written by Beatriz Moreno—Cervera.
© Pío Fernández
Ventanas "Arrelumbre"
Ontario Arts Council, 2015
The set list of the second album of the group Ventanas could hardly be more unusual. The
Canadian-based musicians have devoted themselves to the old music of Spain. Its foundation
is the flamenco. However, "Arrelumbe" does not want to limit itself to this branch of the
musical history of Spain. The music of the Sephardic Jews once played an important role in
the culture of Spain. The influences that Jews, who have traveled widely, brought into
Spanish and European music, will become clear during the course of the CD. Thus, in addition
to the Sephardic component, a Moroccan-Sephardic note is added. Eventually, "Arrelumbe"
spreads over the entire Mediterranean and is looking for influences from the age of the
Ottomans, which also brings some Balkan sounds into the mix. "Arrelumbre" is a dazzling
sound cosmos of Southern European culture of the past centuries.
© Karsten Rube
Mitch Kashmar "West Coast Toast"
Delta Groove Music, 2016
Mitch Kashmar (vocals, harmonica, claves) is one of Southern California’s most prominent ambassadors of the West Coast Sound, an offspring of the Chicago Blues scene. Together with Junior Watson (Canned Heat) on guitar, Fred Kaplan on keyboards, Bill Stuve on upright bass and Marty Dodson on drums he recorded his third studio album with 6 original tracks and 5 cover versions for Delta Groove Music.
Starting off with Kashmar’s jazzy bluesy swinging instrumental track “East of 82nd Street”, the guys instantly capture your attention. Willie Dixon’s funky song “Too many cooks” is a perfect showcase for Kashmar, Kaplan and Watson who drop in some nice solos and “The Petroleum Blues” is an intoxicating Blues-rock by Kashmar, testifying his vocal prowess. Another highlight is the shuffling “Alcohol Blues” written by Sonny Boy Williamson and brilliantly performed by Kashmar and his band. They finish with Kashmar’s 7-and-a-half-minute instrumental jam session “Canoodlin’”.
Mitch Kashmar and his friends have recorded the album in a two days’ live session at Audiogrand, North Hollywood, that’s how professional Blues musicians work.
© Adolf „gorhand“ Goriup
The Young Folk "First Sign of Morning"
ARC Music / Pixie Pace Records, 2016
After their beautiful debut album[59] Dublin based trio The Young Folk present their sophomore CD. Songwriters Anthony Furey (guitars, vocals), Paul Butler (keyboards, vocals) and Tony McLoughlin (bass, mandolin, banjo, vocals) again invited some guest musicians to complete the line-up: Alex Borwick on trombone, Scott Halliday on drums and Gavin Glass on e-guitar and organ.
Furey wrote the hauntingly beautiful title song, a melancholic but rhythmic ballad with great vocals. "Home" is a rocking hymn by McLoughlin and the first single release and "Wolves" a drums driven song with changing pace. Butler's "Through the wilderness" is a rock ballad about a man struggling to feel home again after the return to his family and Furey sings about his broken heart when "Olivia leaves", a simple arrangement in 3/4 beat.
The new album of The Young Folk features 11 original songs, well crafted and performed, highlighting Furey's beautiful alto voice.
© Adolf „gorhand“ Goriup
The Smoke Wagon Blues Band "Cigar Store"
Own label, 2016
Canadian Blues man Corey Lueck (vocals, harp) and American guitar player Mike Stubbs are the main songwriters of The Smoke Wagon Blues Band. Together with the band, Nick Succi (organ, piano), Tibor Lukacs (drums), Jason Colavecchia (bass), Gordon Aichele (sax) and producer/engineer Steve Sherman (organ, percussion, bass), they recorded 11 original songs and 2 cover versions.
They start off with the rhythmic “Walking cane” (Lueck/Colavecchia/Stubbs), a powerful mix of Blues, Rock and Soul. “Hoodoo woman” by Lueck/Stubbs is a stomping Blues featuring brilliant harp sounds and the title track, written by the band, begins as an epic piano Blues before the guys accelerate the pace to an intoxicating Rock’n’Roll. Then guitar, harp and organ rock the “White mule” (Lueck/Lukacs/Stubbs), Blues-rock at its best, and Lueck sings the beautiful Blues ballad “Set me free” (Lueck/Stubbs). The final “You’ve been a good old wagon” (B. Harney/J. Biller) has been recorded by Bessie Smith and Louis Armstrong in 1925, Corey Lueck and his band bring forward an inspired cover.
The new album by The Smoke Wagon Blues Band is a wonderful collection of songs embracing different styles and genres, from R&B to Blues, Soul and Rock, performed to perfection by great musicians.
© Adolf „gorhand“ Goriup
Jeff Chaz "This silence is killing me"
JCP Records, 2016
Jeff Chaz (guitar, vocals) is the Bourbon Street Bluesman TM, one of the hardest-working Blues musicians in today’s New Orleans. Together with Doug Therrien on bass, Doug Belote on drums, Michael Skinkus on percussion, John Autin and Tom Worrell on keyboards and a 4-piece horn section under trumpet player A.J. Pittman featuring Jimmy Weber (trumpet) Michael Genevay (trombone) and Ward Smith (saxophones) he recorded 11 self-crafted tracks.
Jeff is complaining “Savin’ everything for you” accompanied by mighty horn blows, pulsating bass, intoxicating drum pace, Worrell on keys and his awesome guitar playing. The title song is a soulful Blues ballad with Harry Hardin on violin, Therrien on double bass and Autin on keys featuring a mesmerizing guitar solo and Jeff admits “The Blues is my drug”, a breath-taking Southern Guitar Blues. After wishing everybody a swinging “Merry Christmas to You” Jeff is caught by an “Oncoming train”, a shuffling Blues-rock. The guys are closing the session with the instrumental “Creole mustard swing”, another perfect showcase for these brilliant musicians.
Jeff Chaz is a master Blues guitar player and has assembled some great musicians to record a striking Southern Blues album.
© Adolf „gorhand“ Goriup
Russ Hewitt "Cielo nocturno"
Saulitomusic, 2016
Guitar player Russ Hewitt has teamed up with a bunch of great musicians to record his 3rd album with 11 original instrumental tracks in Dallas TX and Hollywood CA: Alfredo Cacares on guitar, Bob Parr on bass and keys, Raphael Padilla on percussion, Walfredo Reyes Jr. on drums and Vladimir Kaliazine on accordion.
Hewitt is a fine guitar player and plays mostly Latino rhythms like on the Global Music awarded “Presidio”, the starting track, or on the laid back “Samba Sao Paulo”. Kaliazine’s accordion mesmerizes the mid-tempo tune “Serenidad” and Larry Carlton plays the second harmony guitar on “North of home”. Hewitt shares “Um abraco do Bossa”, a kiss of Bossa Nova, and explores the “Persian sky” together with Ardeshir Farah adding a few guitar solos as well.
Cielo nocturno is a mesmerizing collection of tunes skilfully brought forward by fine musicians, a laid-back pleasure for sunny afternoons.
© Adolf „gorhand“ Goriup
Jack Mack & The Heart Attack Horns "Back to the shack"
Freeroll Records, 2016
Jack Mack & The Heat Attack Horns are composers Mark Campbell (vocals), Andrew Kastner (guitars) and Bill Bergmann (saxes, tambourine), drummer Tony Braunagel, bassist Bruce Atkinson, keyboarder Carlos Murguia, Les Lovitt on trumpet and Ed Berghoff on acoustic guitar. Joined by guests like Lee Thornburg on trombone and trumpet, Mike Finnegan on keyboards, Les Falconer on drums, Melanie Taylor’s beautiful voice and some great backing vocals they recorded 9 original and one covered song in the Don Peake All Stars Studios, Los Angeles.
Mel Taylor adds her sparkling vocals to “Standin’ before the king”, a funky Blues featuring mighty horns, great guitar licks, intoxicating pace and nice piano playing by Murguia. Finnegan plays the B3 on the soulful Blues-rock ballad “Somethin’ in the water” and Falconer takes the drum sticks for the jazzy Soul Rock “Never too late”. “Bad habit” is an electrifying up-beat Funk, the guys going crazy, and “Ain’t no way” by the late Carolyn Franklin is a melancholic ballad featuring Falconer on drums and Thornburg on trumpet and trombone. They finish with an intoxicating Rock’n’Roll, “Let me in” highlighting Murguia’s piano and Kastner’s guitar playing.
If you guys like good old Soul, Blues and Funk just listen to these guys, awesome sound.
© Adolf „gorhand“ Goriup
Jesse Dayton "The revealer"
Hardcharger Records, 2016
Austin based singer/songwriter Jesse Dayton (vocals, guitars, bass, percussion, keyboard) has made himself a name with his Country infused Americana. He recorded 12 original songs for his new album, accompanied by drummers Eric Tucker, Mike Stinson and Eric Hughes, keyboarder Riley Osbourne, fiddler Beth Chrisman and bass player John Evans.
Jesse starts off with the Texan flavoured Country Rock “Daddy was a badass”, driven by a great rhythm section he rocks with his powerful guitar work and his slightly hoarse voice. “Possum ran over my grave” is a melancholic ballad featuring fine guitar soli and soulful singing and Stinson’s “Take out the trash” is an intoxicating Rock’n’Roll. Other highlights are the beautiful mid-tempo Americana “Mrs. Victoria”, the brilliant up-beat Bluegrass / Rock’n’Roll “I’m at home getting’ hammered” or the final “Big State Motel”, a bluesy song with awesome guitar lines.
The ninth album of Jesse Dayton is a great collection of songs brought forward by excellent musicians. Check him out @ jessedayton.com!
© Adolf „gorhand“ Goriup
Anna Fermin’s Trigger Gospel "you belong here"
Own label, 2016
Anna Fermin is singer/songwriter of the Chicago based band Trigger Gospel featuring Andon Davis (guitars, vocals), Michael Krayniak (bass, vocals), Paul Bivans (drums, percussion) and Alton Smith (keyboards, accordion, vocals). Their latest release includes 9 original songs and one cover version.
Anna imagines in “One last drag” how it would be to dive in the depths of the ocean, driven by a cool drums/bass pace Anna is getting loud, Smith plays some nice keys, Davis lets his guitar sound and slowly you dive up from the musical journey, a brilliant opener. The title track is a hauntingly beautiful ballad with co-producer John Rice joining on acoustic guitar, Henry Alden Carpender on trombone and a powerful final. Rice plays acoustic guitar and mandolin on “Land of the long white cloud”, an intoxicating Bluegrass about New Zealand highlighting Anna’s beautiful voice. Together with Davis and Krayniak she wrote the melancholic Blues ballad “I swear”, Rice adds some violin strokes and Anna’s singing is breath-taking. Anna remembers “Great days”, a wonderful ballad for her mother, accompanied by Smith on piano and accordion and closes the session with “You coulda walked around the world”, a classic Country Blues by Butch Hancock, trombone and additional choir voices join in and lure you to sing along.
After having released 3 solo albums Anna Fermin called for her band again and they produced in my opinion one of the best Americana albums of the year.
© Adolf „gorhand“ Goriup
Sumner Anderson "Out along the bend"
Own label, 2016
Anne Sumner and Rob Anderson were both singer/songwriters in the London open mic scene when they bumped into each other in early 2016. They started working together and recorded a CD with 8 original songs.
Rob's songs witness his love for American Country and Folk music, "Andy's song" is a beautiful Americana with Anne singing the second voice, while Anne mainly wrote and sings romantic ballads like "Anywhere with you". "AnnaLee" is a melancholic song written for Rob's Wayne Drury Project, Anne and Rob sing a beautiful duet. My favourites are the mid-tempo song "Swim any sea" by Anne and Rob's Country ballad "The very last cowboy's response".
Anne and Rob have produced an auspicious debut album, listen to some samples @ www.sumneranderson.com!
© Adolf „gorhand“ Goriup
Rev. Billy C. Wirtz "Full circle"
Eller Soul Records, 2016
Blues pianist and comedian Rev. Billy C. Wirtz hails from Richmond VA. For the recordings of his new album he invited The Nighthawks, Mark Wenner (harmonica, vocals), Mark Stutso (drums, vocals), Johnny Castle (bass, vocals) and Paul Bell (guitar, vocals), as well as guest players Bob Driver (guitar, vocals), Steve Riggs (bass, vocals) and Lil’ Ronnie Owens (harmonica, vocals).
They kick off with an original Rock’n’Roll by Wirtz, “Too old”, intoxicating pace, nice guitar licks by Bell, harmonica solo by Wenner and Boogie Woogie piano. Driver joins for “Smokie part 2”, an instrumental shuffling Blues-rock by Bill Black, who played bass in Elvis Presley’s first band. Wirtz proves to be comedian with “One point five”, a humorous Two-Step, “Mama was a deadhead”, an epic piano Boogie, or the Rev’s theme “Who dat?”, a short piano sketch. Owens plays harmonica on Stick McGhee’s evergreen “Wine – spo-dee-o-dee”, the song that made McGhee famous in 1949, and Driver is co-writer and guitar player on “Mennonite surf party”, another up-beat Rock’n’Roll and perfect showcase for the brilliant musicians.
Rev. Billy C. Wirtz has recorded 9 original songs and 5 cover versions, accompanied by the legendary Nighthawks and other veteran Blues musicians.
© Adolf „gorhand“ Goriup
Jeff Boortz "Half the time"
Own label, 2013
Texas Americana singer/songwriter Jeff Boortz (vocals, guitar) has teamed up with Jarrod Callahan (bass, vocals), John Jackson (guitars), Fats Kaplin (fiddle, pedal steel), Marco Giovino (drums, percussion), Ken Coomer (drums), Michael Webb (organ) and Randy Leago (organ, piano, accordion) to record 10 original songs.
Jeff sings Country on the title track, a mid-tempo song with Jeff’s twangy voice, organ, bass and guitars, or on “Travis County Line”, a dance tune in moderate pace with nice pedal steel sound. The guys are rocking hard on “Stay low”, sappy guitar riffs, shuffling rhythm and Jeff’s powerful rock chant. Other highlights are the cool Country Rock “Baton Rouge”, Bluegrass influenced “Hey passion” or the beautiful Country ballad “Silver lining”.
Jeff Boortz has gathered some fine musicians and recorded his beautifully crafted songs in Nashville TN.
© Adolf „gorhand“ Goriup
