Na Leanai "Branching Out"
Ryan Records, 2017
"Bring 'em All In" by Mike Scott of Waterboys fame[49]
is not only a fine start of an album, but also quite an appropriate motto.
Na Leanai[60]
which means The Children in Irish, is made up of Eimear Kane, Sorcha Turnbull, Ryanne Sands, Fra Sands and Moya Sands -
all daughters and sons and nephews of the renowned Sands Family ensemble.
Formed only recently in 2014 they present their sophomore album "Branching Out," which is a telling title as well.
They have spread their wings embracing their Irish roots, delicious 5-part-harmonies,
jazzy and ethnic strains, even adding two remarkable Zulu vocalists.
The juicy song selection covers England (Allan Taylor), Ireland (Siuil a Ruin, Phegin Agus Pheader),
France (V'lal Bon Vent) and Germany (Liebeslied), as well as several original songs from Eimear and Uncle Tommy's notable "Your Daughters And Your Sons".
After all, Na Leanaí have left the cradle behind and covered another mile on the road to stardom.
Album no. 2 is a warranty that this outfit will last for quite some time.
© Walkin' T:-)M
BackWest "The Long Walk"
Own label, 2017
Galway City's new traditional supergroup has taken the next step on The Long Walk.
Acquaintances for years, they eventually established a permanent ensemble for some concerts at the King's Head medieval pub last summer.
Brendan Browne (button accordion) had toured with Riverdance; his sister Maureen (fiddle) did play with Peter Vickers
(bodhrán, percussion, dance) for Lord of the Dance and with PJ McDonald (guitar, vocals) for Ringo McDonagh's Full Steam Ahead.
Their debut album features a couple of frenetic performances, celebrating their Galway heritage. It is actually titled
after a street in The Claddagh, a notable area in Galway, as depicted on the cover art. BackWest refer to The KDC Set,
including the traditional "Killavil Jig", "Connaught Man's Rambles" and Frankie Gavin's[44]
"Drimeen Jig," as a real summation of their traditional roots. There are jigs, reels, Steve Cooney's
"Diarmuid's March", two Matt Cranitch polkas; and they are also familiar with Breton and Galician music and haunting
slow airs such as "Amhrán na Leabhair". PJ McDonald, who is from Co. Tyrone, is responsible for the songs,
and he has chosen some Northern songs, namely the Northern Irish "Flower of Sweet Strabane" and the Scottish "Nancy's Whiskey".
What a felicitous start, The Long Walk has begun...
© Walkin' T:-)M
JigJam "Live in Tullamore"
Own label, 2017
JigJam[57]
are brothers in spirit to We Banjo 4.[61]
Their genre has been branded as CeltGrass, though JigJam prefer the expression I-Grass being Irishmen and not Celts.
Maybe this quartet from the Irish midlands speaks to a greater extent with an Irish lingua, though the American emphasis is penetrating
thanks to the choice of instruments (Jamie McKeogh, Cathal Guinan, Daithi Melia and Gavin Strappe interchange between banjos, guitars,
fiddles, mandolins and double bass) and their selection of music, playing traditional Irish alongside bluegrass tunes, sometimes frantically mixed together.
They passionatley render traditional songs such as the Irish/British "The Mermaid" and "Yarmouth Town" and American "99 Years,"
plus contemporary folk/pop songs like Paul Brady’s "The Island" and Bob Dylan's "Señor."
After two critically acclaimed studio albums, they felt the need to record one of their
live performances, namely their latest studio album launch at the Tullamore Rugby Club.
It is a showcase of vigour and virtuosity, exemplified by their flashy tenor and five-string banjo duels.
If you listen carefully to the audience response, the crowd was having a whale of a time.
© Walkin' T:-)M
Pete Quinn, Karen Ryan, Andrew Mac Namara "From Camden to Tulla"
Lo La Records, 2017
This is the gorgeous collaboration of Andrew Mac Namara (button accordion),[49]
Karen Ryan (fiddle)[48]
and Pete Quinn (piano). Andrew and Karen first met at the Feakle Festival in County Clare in the west of Ireland in 1991. Over those 25 years since then, they’ve played
on and off together. Meanwhile Karen co-founded The London Lasses featuring her husband,
Pete Quinn.[43]
The threesome has played some lively sessions every Feakle Festival ever since,
which eventually made them record an album at Andrew's home in Tulla.
The result is pure trad at a relaxed pace, but a rhythmical and lively performance that transports the listener to the London Irish scene of the 1950s to 1970s.
The duet playing is tight and confident, the vamping piano gives great lift.
Most tunes are familiar, plus a couple of real gems from East Clare including a set dance (Rodney's Glory)
and a set of Schottische (Bonnie Scotland/Bill O'Malley's).
Please have a listen @ camdentotulla.bandcamp.com!
© Walkin' T:-)M
Sinéad Murphy "No Better Time"
Own label, 2017
Young Sinéad Murphy from Armagh in the north of Ireland is one of the hip and cool to renew the old songs of the Emerald Isle.
She does it with grace and vim alike. Her selection of songs, sourced from vocalists and collectors such as the late Frank Harte,
Altan's Mairéad Ni Mhaonaigh and Aran singer Lasairfhíona Ní Chonaola, is fortunately beyond the most obvious:
"The Cocks Are Crowing", "Citi n gCumann", "Valentine O' Hara",...
While her vocal delivery stands on her own feet, she's been given a sensitive backing by
Brendan Monaghan (whistles, pipes), Meabh Smyth (fiddle), Tiarnan Smyth (concertina),
Ruairi Cunnane (guitar, bouzouki) and Brian McAteer (keyboards).
© Walkin' T:-)M
Eoin Dillon "Pondelorum"
Buda Musique, 2016
Uilleann piper Eoin Dillon is co-founder of the Irish fusion group Kíla,[63]
but had left the band recently to pursue a musical career on his own.[32][43]
"Pondelorum" is the third album under his own name; it had been originally released in 2016, but has been reissued now by Buda Musique
to make it more easily available on the European mainland. That's why the sleeve notes are both in English and French.
A handful of gorgeous tracks not only capture Eoin's fervent performance on the uilleann pipes
but also emphasise his strength as a composer of melodies full of character.
Each track is linked to a poem and a pen drawing, which makes a fine overall concept.
Last but not least, Eoin may rely on support from Micheal O Suibhleabhain (harpsichord),
Ronan O Snodaigh (bodhran), Eamonn Gall Dubh (saxophone), and many more.
© Walkin' T:-)M
Tiarnán O Duinnchinn "Reggish Paddy"
Own label, 2017
Oh yes, the Uilleann Pipes, Ireland's peculiar contribution to the world of piping,
also have a particular significance in Irish culture.
Tiarnán O Duinnchinn[37]
is very much aware of this. Tiarnán, who hails from Monaghan, had begun with the pipes at The Armagh Pipers Club when
nine years old. He has won several All-Ireland titles and the Seán O Riada Gold Medal. Recently, he
was awarded by the Irish Department of Arts to purchase another pipes set to support his prospective career.
That is the context of his new album "Reggish Paddy," with the opening track "Reggish Paddy/Bunch of Regulator Keys"
being a flamboyant wink to the classic piping reels "Rakish Paddy" and "Bunch of Keys".
There is more of the kind, such as "Allistruim's March" and the jig "Cherish the Ladies,"
as well as haunting airs such as "Mál Bhán Ní Chuileannáin" (Eithne Ni Uallachain) and "Tá Dhá Ghabhairín Bhuí Agam".
His overall tune choices are rather eclectic: "The Fairy Queen/Dance for the Haymakers" comes from a Henry Purcell opera;
the jig "Twas When the Sea was Roaring" is actually a piece from Baroque composer Georg Friedrich Händel
followed by a Scottish strathspey and a Cape Breton reel; he eventually ends up with the Italian "Tarantella alla Carpinese".
Besides Steve Cooney and Trevor Hutchinson on two tracks, there is no accompaniment at all. Tiarnán relies upon his
close-fingering skills on chanter, drones and regulators only, when exploring rhythms and sounds. As any triumphant
explorer, Tiarnán O Duinnchinn eventually finds the promised land and the musical gold at the end of the rainbow.
© Walkin' T:-)M
Tommy Guihen "The Torn Jacket"
Cló Iar-Chonnacht, 2017
"The Torn Jacket" is Tommy Guihen's debut solo album of traditional flute playing, Co. Roscommon style,
in particular that of the Arigna area close to the shores of Lough Allen. Tommy has started on the flute
at the tender age of fourteen, and did win the junior All-Ireland championships in 1977 and
the senior title in the following year. He subsequently toured with Comhaltas Ceolteóirí Éireann and a trad group called Shebeen.
However, these days he is rather occupied with family farming and prefers to play his flute for the locals--he enjoys
The View Across the Valley so to speak (that's the name of a John Brady reel).
He also favours the local music, which he describes as a blast from the past.
In his youth, he did listen to and studied the likes of Seamus Tansey,[64]
but came up with a striking execution distinguished by rhythm and groove.
Supported by guitarists Mary Corcorhan and Paul Gurney, he selected reels and some jigs
associated with artists such as John Brady, John McKenna, Vincent Broderick,
John McEvoy, Charlie Lennon, Ed Reavy, etcpp. Tommy has also an appreciation
for slow airs, which derives from Sligo flutist Josie McDermott, whose "Lament for Jim Flynn"
is featured here as well as the tune of the old love song "Úna Bhán."
© Walkin' T:-)M
Brian Hughes "This Day 20 Years - Sure there won't be a word about it"
Own label, 2017
This is Brian's[51]
altogether sixth album, 20 years after the release of his debut album, "Whistle Stop," for
the Irish language and arts organisation and record label Gael Linn. "Whistle Stop" then made him a
household name in the world of traditional Irish whistle playing; his entire body of work afterwards
has been hailed once as to be the greatest body of whistle music ever recorded, though it is
agreed that Brian himself is rarely heard and seen in flesh and blood.
"This Day 20 Years" features 20 highlights of his recording career from his five albums 1997 to 2014.
Brian plays the whistles, and can be heard on the uilleann pipes on a couple of tracks; supported by
the likes of Nollaig Casey (violin), Seana Davey (harp), Garry O Briain (guitar), Tommy Hayes and
Donnchadh Gough (bodhran). There are both newly composed tunes and traditional fare, sometimes executed
in purest traditional style, sometimes drifting into sonic territory which made bands such as Lunasa or
Beoga so renowned. Of course, there is a selection of jigs and reels, however, Brian is also fond of
Sliabh Luachra slides and polkas which are not played enough in his part of the country, he feels.
Moreover, he is an aficionado of the haunting quality of slow airs; he has made an entire album
of them and the tune of the Kerry love song "Bruach Na Carraige Baine" is featured here.
"This Day 20 Years" finishes off with a suite and a shanty song written by Brian and sung by
the Monasterevin Gospel Choir in memory of
Sir Ernest Henry Shackleton (1874–1922), who led three expeditions to the Antarctic
and came from Brian's neighbourhood in Athy, Co. Kildare.
The album title has been inspired by Brian's grandfather from whom he got the love for the music
and who kept saying: This day 20 years, sure there won't be a word about it!
I diasagree! There will be much to say about it, there has to be,
in 10 years, or 20, as long as there are devices which can replay a CD like this!
© Walkin' T:-)M
Kiérah "Strong Bow"
Own label, 2017
Kiérah Raymond from British Columbia on the West Coast of Canada is a classically trained violinist and pianist,
however, thanks to an Irish/Scottish heritage her passionate love is traditional Irish/Scottish music.
She names Irish fiddler Martin Hayes and Canadian folk music group Leahy her exemplary role model.
This is already her fourth album showcasing a well-grounded virtuoso on the strings,
whose heart and soul is not getting lost in technical execution. Out of 42 tunes, 15 are original, the remaining are contemporary
tunes from the pen of McGoldrick, Duncan, Henderson and Peadar O'Riada. For good measure,
Kiérah has thrown in some waltzes and slow airs, a Polish mazurka and the only song, "Fair Maiden."
Her excellent support on guitars, keyboards and drums (special guest: flutist Mike McGoldrick)
pushes the tune sets towards funky grooves and lusty beats, though the Strong Bow always keeps the upper hand.
Over the course of four albums, Kiérah has recorded 66 original tunes. All of these jigs, reels, strathspeys, waltzes and airs
are included in her tune book,"Kiérah's Collection."
© Walkin' T:-)M
Roisin Mc Grory "The Brae Road"
Othain Records, 2016
This is pure traditional Donegal music throughout. Fiddler Roisin Mc Grory (nee Harrigan)
from the Inishowen peninsula is married to the founder of McGrory's of Culdaff,
where she organised the traditional music sessions until recently. Roisin's
debut album showcases her feathery execution of strings and bow, resulting in
a bright and brilliant fiddle tone. "The Brae Road" is a fine selection of tunes
from artists that have inspired her ever since; namely the likes of John Doherty,
Tommy Peoples, Sean Ryan, Paddy Fahey, Maurice Lennon, ... There is also a
couple of airs, including her own beautiful "Where Aileach Guards." Altogether
Roisin accounts for five original tunes, such as the barndance which is also the album title.
"The Brae Road" features brother Paul Harrigan on piano accordion, fellow fiddlers Melanie Houton, Eimear McColgan,
Clodagh Warnock, harpist Joleen McLaughlin, guitarist Colm O'Caoimh,
as well as Roisin's two daughters Deirdre (whistle) and Ella (piano).
© Walkin' T:-)M
Kyle Burghout "The Prism Within"
Own label, 2017
Canadian fiddle player Kyle Burghout says, "I believe a great musician is someone who is able to take a tune and expose its inner beauty to the listener in the
same way a prism reveals the full spectrum of colours found inside white light.
While recording this album, my goal was to find this musical prism within, to help show you the essential beauty of these tunes."
Kyle holds a Bachelor in Classical Music and plays with the Ottawa Symphony Orchestra to this day, but growing up
on a diet of Cape Breton fiddlers such as the MacMasters and the Rankins he has immersed himself in traditional dance music of
Scottish and Irish provenance.
At the time being, he is the Artistic Director of Fiddleheads Musical Theatre in Chelsea, Quebec, instructing a gifted bunch of teenage fiddlers.
His debut solo album, "The Prism Within," is drawing on the fertile heritage of the Ottawa Valley, which is comprising a
mélange of Irish, Scottish and French Canadian music. There are many Cape Breton tunes though the style is quite different.
One striking example is the "High Bass Set" (named after the high bass tuning AEAE with its peculiar bright sound characteristics) featuring compositions from
John Morris Rankin, Liz Carroll and Jerry Holland, whereas "Ottawa Tunes" is devised from Ottawa fiddlers such as Denis Lanctôt only.
"From Ottawa to Sligo" then is an 8-piece, 13-minute extravaganza of original tunes, coming full circle from the Old World to the
Ontario/Quebec border and back to the west coast of Ireland again.
"The Prism Within" is a selection of ravishing tunes. Joined by a couple of local musicians, arranging has been kept
to a minimum. Often there is only fiddle and piano, and Kyle's execution is expressive and emotional.
© Walkin' T:-)M
Bernadette Nic Gabhann "Here to Play"
Own label, 2017
Bernadette Nic Gabhann comes from a musical family from Ashbourne in the Irish Co. Meath. She
learned to play traditional Irish music from her father, the renowned fiddler Antóin Mac Gabhann.[44][59]
Her sister is concertina player Caitlín,[57]
Bernadette herself had been fiddler with Lord of the Dance and subsequent dance shows. Ten years ago,
she recorded with Irish-American group NicGaviskey.[44]
In 2016 she teamed up with St Louis harpist Eileen Gannon to play through all her influences over the decades - from home dancing,
session and ensemble playing to big professional productions. Her fiddle playing is graceful and lively, just from the opening "Boyne Hunt"
(the Boyne River runs through her Meath home). The selected tunes are both traditional and more recently composed by the likes of
John McEvoy, Charlie Lennon, Ed Reavy, Sean Ryan and others. "Trasna na dTonnta" is a jig version of the popular song "Westering Home."
With the sole exception of the mournful air "Cois Abhann na Séad" ("By the River of Gems," as heard from the singing of Muireann Nic Amhlaoibh) you want to
tap your feet if not swing your hips, even with the late Canadian Métis fiddler Andy De Jarlis' swinging "Scan Waltz" and Baroque harper Turlough O'Carolan's planxty
"Miss Murphy" (who was born in Nobber, Co. Meath). The final track features a duet with Antóin Mac Gabhann on the grand Scottish reel "The Graf Spey,"
a worthy finish of a fine album. Bernadette says, "Music can bring you anywhere in the world and I'm willing and able travelling."
After all, Bernadette is ready to introduce everybody to her musical universe.
© Walkin' T:-)M
Danny Diamond "Elbow Room"
Own label, 2017
"To me, solo unaccompanied music and song is the heart of Irish music." So this time Dublin fiddler Danny Diamond
offers ten fiddle solos, both traditional and recently composed. In the past years, Danny had worked with the Irish Traditional Music Archive (ITMA)
and recorded a critically acclaimed solo album.[56]
At the same time he played with group Mórga,[53]
at the time being he is the fiddler of Slow Moving Clouds.
For "Elbow Room," Danny was exploring old field recordings off the beaten track. He kicks off with a Donegal accent:
"Maire Bheag ni Ghibhearlan" (Maureen from Gibberland) is a 19th century song air, followed by "Willie's Single Jig."
Sourced from the legendary Donegal fiddler Johnny Doherty, it is executed in low C open tuning. Danny incorporates
many piping characteristics, a particular treat in Donegal fiddle music. He often finds inspiration in both poetry (here: Tom French) and
dance; his original descriptive piece "The Swan" had been inspired by Michael Keegan-Dolan's dance theatre piece "Loch na hEala" (a.k.a. "Swan Lake").
He also delivers the seán-nos song air "An Buachaillín Bán" and the six-part hornpipe "Johnny Cope," the latter being an Irish adaption of the well-known
Scottish song. After all, Danny creates a soundscape of his own, enriching traditional Irish music with European and American folk traditions
as well as contemporary influences. So this is at the same time deeply rooted in a century-old oral tradition, but quite inventive and personal.
© Walkin' T:-)M
Liam O'Connor "The Loom"
Own label, 2017
Liam O'Connor[31][39]
comes from a musical family in Ireland's capital Dublin. His father
Mick O’Connor is a renowned flutist, who was a founder member of the Castle Céilí Band.[44]
Liam learned the fiddle from Séamus Glackin and subsequently won a couple of All-Ireland titles.
He names the renowned Sean Keane (The Chieftains) as main influence, and he has played with
uilleann pipers Liam O'Flynn and Davy Spillane, concertina player Noel Hill, flutist Harry Bradley, and many others.
His solo album "The Loom" has been a decade or more in the making. Supported by John Blake (guitar) and Paddy McEvoy (piano),
it showcases his virtuosity and control of traditional Irish music with a characteristic Dublin accent.
Liam presents hornpipes, hop jigs (such as the eponymous track from the pen of iconic Dublin fiddler Tommie Potts), slow airs and a barndance besides the jigs and reels.
It is mainly traditional fare, though he doesn't shy away from slight outlandishness.
So "Master Crowley's Reel" has an additional third part, while "O'Connor's Bucks" is a five-part reel.
He also included "Easter Snow" and "The Wild Geese," respectively, two beautiful renditions of slow airs.
Liam's original compositions are striking. "The Rights of Women" hornpipe is a lively companion piece
to the traditional "The Rights of Man," and a tribute to 18th century feminist Mary Wollstonecraft.
His father joins him on flute on the concluding reel set, "Lucky in Love / The Indian on the Rock,"
which Mick had originally recorded with fiddler Charlie Lennon[46] way back in 1981.
This father-son-collaboration is a beautiful finale of a fine traditional album.
© Walkin' T:-)M
Anders Lillebo "Departure"
Just for the records, 2017
While spending time on the Emerald Isle (Galway precisely),
Norwegian jazz pianist Anders Lillebo fell in love with The Woods of Old Limerick and The Hills of Coore,
and consequentially bought a piano accordion.
I Wish I Never Saw You could have been his silent curse for he could not keep his hands off
ever since. Eventually, Anders recorded his debut album at Jack Talty's on the Irish west coast, featuring
Jack Talty himself on piano, Caoimhín Ó Fearghail on guitar and bouzouki and Tommy Hayes on percusssion.
Two tracks feature clarinetist Matthew Berrill and fiddle and bouzouki player Esbjörn Hazelius, respectively.
Anders's playing has been honed by countless trad sessions, where he acquired his clear-cut style and
sourced his traditional Irish music repertoire (besides a couple of original pieces).
By the way, there is a Northern wind blowing still, last but not least, indicated by the addition of a polska.
© Walkin' T:-)M
Liam O'Brien "The Lane"
Own label, 2017
Please clap your hands! Liam O'Brien from Glendine near Miltown Malbay in Co. Clare
has been the recipient of the 2017 TG4 Gradam Ceoil Ceoltóir Óg na Bliana (Young Musician of the Year) Award.
He had learned his music from his mother Brid O'Donohue,[32]
where folks such as Paddy Canny, Kitty Hayes and Joe Ryan had been frequent guests.
Liam started on the tin whistle, but soon swapped it for a concertina and
took up classes with Noel Hill. He says with justified pride, "My highlight every year was attending the
Scoil Samhraidh Willie Clancy as a student. Now I’m a teacher there myself!"
"The Lane" features mainly popular traditional dance tunes
that the likes of Willie Clancy, Bobby Casey, Joe Ryan, Junior Crehan, Paddy Canny etc. used to play -
from "The Frieze Britches" jig to "The Rights Of Man" hornpipe.
Liam is deeply connected to the oral tradition, but keeps an open mind and plays around
(thanks to studying Indian music at the University of Limerick:
"I'd like to think I can take a tune and make it my own, never playing it the same way twice"). However,
don't expect anything off-wall, Liam plays his tunes crisp and clear at a relaxed pace.
Thrown in for good measure is a lament to legendary Clare piper and musical hero Willie Clancy
from the pen of Junior Crehan and sung by Michael Perigoe.
© Walkin' T:-)M
Floriane Blancke "Kaleidoscope"
Own label, 2017
Hailing from the French capital, Floriane Blancke is a classically trained harpist and fiddler, who has immersed herself
into folk music. She had studied at Bordeaux Conservatoire and C.I.A.M Jazz School, before
falling in love with traditional Irish music. In 2006, she moved to Ireland and became a professional
folk artist, first of all in a duo with former Altan accordionist
Dermot Byrne,[49]
and recently she joined the cast of the Danceperados of Ireland show.[61]
Her solo recording "Kaleidoscope" (derived from ancient Greek for observation of beautiful forms)
is an insight into and review of her musical journey so far. The traditional and original tracks are
imbued by the people and the land, the spirit(s) and the craic of her new-found domicile in the west of Ireland.
Floriane has written a couple of fine jigs and reels; the haunting air "Baile Na Bpuc" has been co-written with
English guitar player Tim Edey. Classical composer Claude Debussy's "Passepied IV" is the only departure from
the traditional formula and a retrospect on a world left behind. "Kaleidoscope" is beautifully staged
by a who's who of the Irish trad circuit, featuring Dermot Byrne, Tim Edey, Joanie Madden, Trevor Hutchinson,
to name just a few.
Last but not least, Floriane also showcases her vocal abilities, including
the traditional Ulster love song "Molly na gCuach ni Chuilleanáin"
(heard from the singing of the admired late Eithne Ní Uallacháin who also wrote the melody used here),
Richard Thompson's "Crazy Man Michael",
and Mary Elizabeth Frye's 1932 poem "Don't Stand at My Grave and Weep,"
set to music by Floriane herself.
© Walkin' T:-)M
Dan Walsh & Alistair Anderson "Right At Home - Live At Mount Hooley"
White Meadow Records, 2017
Banjo player Dan Walsh is going to make his name on the folk music
circuit.[57][58]
This here is the first album from a particular collaboration; Dan has been joined by veteran
Alistair Anderson (English concertina, Northumbrian pipes), who has been promoting
the musical traditions of Northumberland for five decades.
"Right At Home" has been recorded live over two nights at Alistair's homestead at Mount Hooley.
Their repertoire ranges from bluegrass standards and old-time songs ("Roll in My Sweet Baby’s Arms", "Shady Grove")
to Northumbrian triple time hornpipes ("Geld Him Lasses, Geld Him") and jazzy ballads (the night visiting song
"When a Man's in Love" and the early Saw Doctor's song "At Least Pretend"). There are reels from
James Scott Skinner as well as original tunes from Dan and Alistair, respectively. Both agree that
this cross-generational music has to be played muscular but at the same time relaxed and easygoing.
This makes their gig a matter of rare timeless beauty.
© Walkin' T:-)M
Bellevue Rendezvous "While Rome Burns"
Own label, 2017
Busy with his "Journeyman" show for quite some time,
Gavin Marwick[53]
and Bellevue Rendezvous[42]
eventually recorded and released their third album "While Rome Burns".
This Scottish threesome had been formed in 2006 by Gavin (fiddle), Cameron Robson (cittern) and Ruth Morris (nyckelharpa),
whose musical careers include stints with groups such as Burach, Cantrip, Deaf Shepheard, Iron Horse, Malinky, Session A9,
and the Unusual Suspects. The interplay of these particular instruments makes quite an appealing and full-bodied sound.
The band's name is French-sounding, but indeed dervied from an Edinburgh area,
and their music encompasses traditional and newly written music from the Celtic fringe (e.g. a strathspey from the Simon Fraser collection) up to
continental Europe (an Anglo-French waltz by hurdy-gurdy player Cliff Stapleton) and further afield. This time the trio takes you on a tour
visiting Galicia ("Jota da Gheada" by Berrogüetto piper Anxo Pintos), Norway ("Hvit Marsj" by Gjermund Larsen),
Sweden and Finland (polskas from Väsen's nyckelharpist Olov Johansson, Frigg's fiddler Esko Järvelä and fusion band Hedningarna),
Romania (the traditional wedding reel "Onga Bucharesti," which klezmer clarinetist/bluegrass mandolinist Andy Statman and
Irish trad group De Dannan used to play), and Armenia ("Hicazkar Sirto" by Armenian-American oud player Alan Shavarsh Bardezbanian).
Last but not least, Gavin's original "Nero's" and "The European Dream" (please note the hint to the album title)
are a musical comment on US and EU politics. The first is an eerie slow reel, but the latter hopeful and promising.
© Walkin' T:-)M
Emily Barker "Sweet kind of blue"
Everyone Sang, 2017
Australian born and England based singer Emily Barker (vocals, guitar, banjo, harmonica) released her latest album with 10 original songs recorded at Sam Phillips Recording Service in Memphis TN with local musicians.
The title song was co-written with Memphis based keyboarder Rick Steff, a rocking mix of Blues and Soul with great lead and backing vocals. Blues harp and Country sound meet Soul on the single release “Sunrise” and “Crazy life” is a melancholic Tennessee waltz featuring strings. London singer/songwriter Boo Hewerdine was co-writer for the up-beat song “More”, horns, keyboards, bass and drums create the brilliant mix of Jazz, Soul and Rock and Emily sings with seducing and passionate voice. They finish with the slow Blues “Underneath the honey moon” co-written with Nashville based producer/musicians Jordan Lehning and Skylar Wilson.
Emily Barker has delivered a pleasant mix of Americana, perfectly produced and recorded in Memphis.
© Adolf „gorhand“ Goriup
Lesley Kernochan "A calm sun"
Make My Day Records, 2017
Lesley Kernochan (vocals, acoustic guitar) hails from the City of Angels covering 4 octaves with her voice. Together with Jeff Babko (keyboards), Dan Lutz (acoustic bass), Aaron Sterling (drums, percussion), two guitar players taking their turns, Dean Parks (guitars, pedal steel, banjo, dobro, ukulele) and Christopher Bruce (guitars), and a few guests she recorded 14 original songs for her third album.
Lesley sings the up-beat Country song „Hurricane eye“, her crystal-clear voice driven by the band, Bruce playing the guitar and Ben Peeler adding dobro, mandolin, pedal steel and lap steel. Parks opens “Tumbleweed” on his ukulele, Lesley sings the romantic song, Sterling starts a slow paced Two step rhythm and Tom Rhodes and Robert Rex Waller Jr. add the backing vocals. The title song is a beautiful ballad featuring powerful keyboard sounds, bass, drums and Parks on guitar. Then Sterling and Lutz accelerate the pace for “Love is a verb”, Parks plays pedal steel and dobro and Alisa Rose plays the intoxicating fiddle creating a great Country sound. Bruce plays the guitar on “The chocolate tree”, a rhythmic song featuring Lesley’s bluesy singing, and “Wherever I go”, a melancholic slow waltz, both putting Peeler on lap steel and pedal steel into the limelight.
Lesley Kernighan is a breath-taking singer, her songs are beautifully crafted and she’s accompanied by some brilliant musicians, check her out!
© Adolf „gorhand“ Goriup
Steve Mednick "Root of the sun"
Cottage Sound Recordings, 2015
Singer/songwriter Steve Mednick hails from Middlebury CT, where he recorded his latest album with 17 original songs. Originally the project was planned for 2013 and nearly finished then, but Steve changed plans and recorded Never mind the rain. Two years later they added some guest appearances to the line-up consisting of Karl Allweier (bass, banjo, acoustic guitar), Billy Kotsaftis (lead guitar) and Eddie Seville (drums, percussion, slide guitar, keys, synth, vocals) and finalised their work.
They start off with a rhythmic Country rock presenting Tommy Weeks on saxophone, “A wanted man”. Gene Grenier plays the brilliant lead guitar on “The passing and loss of time”, an intoxicating Blues rock with pulsating bass lines and Steve’s twangy vocals, my favourite song. Seville and Natalie Modugno join Steve’s singing on the beautiful ballad “Lorena”, accompanied by double bass, guitar and Matt Cartsonis on mandolin. Steve sings a nice duet with Sallylu Sianni on the folky “Arc of the universe” and Tony Casagrande joins the guys on organ for the Rock ballad “The stormy sea”. Another highlight is the rhythmic “Don’t know why” featuring two guitars, two voices, double bass and percussion. The album also includes two solo appearances by Steve, “Salvation Alley” is a folky song accompanied by guitar and Dylan like vocals.
Steve Mednick presents a pleasant collection of diversified songs, more than an hour of good music, check him out!
© Adolf „gorhand“ Goriup
John McCutcheon "Trolling for dreams"
Appalseed Productions, 2017
Folk singer John McCutcheon (vocals, guitars, hammer dulcimer, octave mandolin) has released his 38th album with 14 new songs, recorded in Virginia and Tennessee together with Pete Kennedy on e-guitar, Eric Scott on bass, Brian Simms on piano and Robert “Jos” Jospé on drums. Guest appearances include singers Jon Carroll (also piano, organ), JT Brown (also bass), Tim O’Brien and Sam Gleaves as well as Stuart Duncan on fiddle and mandolin.
O’Brien and Gleaves sing the chorus on the anthemic Folk ballad “Y’all means all”, accompanied by the full band and John sings the romantic waltz “Dance” to the smooth sound of the piano. My favourite song is “Sharecropper’s son”, an intoxicating Bluegrass with fiddle and e-guitar swirling around one another and O’Brien and McCutcheon singing. Acoustic guitar and e-bow hammer dulcimer lay the musical carpet for “Between good and gone” while the full band rocks “Three chords and the truth”. Another highlight is “This ain’t me”, a mid-tempo song written during John’s illness featuring some nice dulcimer sounds.
John McCutcheon started his career in the 70ies, he’s a fine songsmith, multi-instrumentalist and singer and has joined with excellent musicians to record a perfect Folk album.
© Adolf „gorhand“ Goriup
Police Dog Hogan "Wild by the side of the road"
P&C Major Tom Records, 2017
Police Dog Hogan are an eight-piece line up featuring lead singer and guitarist James Studholme, violin (Eddie Bishop), banjo (Tim Dowling), mandolin (Tim Jepson), bass (Don Bowen), drums (Michael Giri), accordion (Shahen Galichian) and trumpet (Emily Norris). On their latest album, they present 12 new original songs.
They start off with an intoxicating Irish Folk inspired Rock’n’Roll, “Tyburn Jig”, violin versus trumpet. “Devon Brigade” is a melancholic folk ballad accompanied by guitar and violin and “In the country” a banjo driven Two-Step. Banjo, mandolin, guitar, bass and drums give the pace for the mid-tempo Folk song “The one on the left”, violin and trumpet play a nice duet, and “Our lady of the snow” is a beautiful Country Blues featuring terrific fiddle playing. My favourite song is the “East Nashville Back Porch Fix”, driving banjo pace, powerful arrangement and Studholme’s brilliant singing.
Police Dog Hogan create a high energetic sound, 8 great musicians, a fine singer, beautifully crafted songs, and perfect arrangements. Listen to samples at their website!
© Adolf „gorhand“ Goriup
Quiles & Cloud "Shake me now"
Compass Records, 2017
Maria Quiles and Rory Cloud first met at an open mic in San Francisco in 2011. They started touring together, two guitars and two voices, and in 2013 were joined by upright-bassist Oscar Westesson. Together they recorded 8 original songs a Bob Dylan Cover and 2 traditional tracks produced by Alison Brown.
Maria sings the lead vocals on “Black sky lightning”, a dramatic song with the two interweaving guitars. Her silky alto mesmerizes the listener, brilliant guitars and upright bass accompany the rhythmic Americana “On my way tonight”. The title song is a beautiful Blues ballad and they sing an awesome duet on the traditional “Deep Ellum Blues”. Another highlight is the soulful Blues “Feelin’ good”, two guitars and upright bass create an intoxicating groove. Rory sings “You ain’t goin’ nowhere”, his beautiful mellow tenor makes the big difference to Dylan’s original.
The new album of Quiles & Cloud is a hauntingly beautiful collection of acoustic Americana songs brought forward by three great musicians and two fine singers.
© Adolf „gorhand“ Goriup
Sound of the Sirens "For all our sins"
DMF Records, 2017
Exeter based duo Abbe Martin and Hannah Wood have recorded their stunning debut album with 10 original songs.
Their first single “Smokescreen” is a rocking Pop song with their remarkable singing together, the two contrasting voices match perfectly together. The beautiful ballad “Mr Wilson” is as perfectly arranged and performed as the powerful hymn “Grow”. My favourite songs are “Chaos”, a dramatic mandolin driven Folk/Pop song with breath-taking vocals, or the bass driven duet on “The voice”.
Sound of the Sirens present a 32 minutes long collection of lyrical Pop songs, preeminent the two hauntingly beautiful voices.
© Adolf „gorhand“ Goriup
Wendy Webb "Step out of line"
Spooky Moon Records, 2017
Iowa native singer/songwriter Wendy Webb (acoustic guitar, e-piano) hails from Nashville TN, where she produced and mixed her new album together with co-writer Mark Keller. Keller recorded 8 original songs and a Bob Dylan cover, Wendy’s beautiful voice in the limelight and brilliantly accompanied by a bunch of excellent musicians.
Bob Bullock recorded and mixed the first song in Franklin TN, “Talk to me” is a passionate plea for frankness, Vince Santoro drums, Willie Weeks bass, Dennis Matkosky keys and Larry Chaney e-guitar create the dramatic sound. The title track is a hauntingly beautiful Blues ballad featuring a duet with Wayne Jackson on trumpet and driven by Ron Krasinski drums, Dave Pomeroy bass, Mark T. Jordan e-piano and David Grissom e-guitar. Bass, e-piano and Dan Dugmore on pedal steel accompany Wendy’s mesmerizing singing on the love song “Destiny’s muse” and Jim Horn joins in with fine saxophone lines. Wendy sings the Blues, “Camden Town” featuring e-guitar, bass, drums and organ or the romantic ballad “In the night” solely supported by David Hungate on acoustic bass.
Wendy Webb is a fine songwriter, though most of the songs are co-written with Mark Keller, who also deserves praise, and a great singer with a wonderful voice. Check her out!
© Adolf „gorhand“ Goriup
