FolkWorld #67 11/2018

CD & DVD Reviews

Pancho Alvarez "Celtis Australis"
Fol Musica, 2017

www.panchoalvarez.com

Pancho Alvarez is one of the most interesting musicians of the rich folk music scene of Galicia in North-Western Spain - and a wonderful character he is as well. His wide-ranging experience includes long stints with the Carlos Nuñez band and the Chieftains, but it is his solo work where his talents really can shine. „Celtis Australis“ is Pancho‘s fifth solo album.
As with previous solo albums, the album has a full band sound, yet it is primarily Pancho accompanying himself on numerous instruments at the same time - including guitars, Bouzouki, viola, harp, hurdy gurdy, mandolin, accordion and percussion. There are a few guest musicians, yet it is the multitude of instruments that he plays himself which shapes the sound of the music.
Focussed on Galician folk music, most of the songs and tunes are composed by Pancho (many in partnership with other musicians). The musician effortlessly combine these Galician sounds with contemporary influences including rock - with electric guitar and drums - Pop, Blues and Irish trad. Three of the songs on this album are sung by wonderful singer Maria Solleiro, and Pancho himself sings the other three songs with his unmistakable warm singing style.
A great album full of surprises and enjoyment.
© Michael Moll


Duncan Chisholm "Sandwood"
Copperfish Records, 2018

www.duncanchisholm.com

Artist Video

Scotland boasts a huge number of talented fiddler players, but just a few of them are just in their own league. Duncan Chisholm is one of those, and his latest solo album is perhaps the highlight of his solo career. “Sandwood” is a musical masterpiece, instrumentally telling the story of Duncan’s pilgrimage to Sandwood, the finest and least accessible beach in Scotland. The timeless beauty of that place is captured in the music which equally is timelessly beautiful - music which will enchant any listener, taking them to most special places in their imagination.
Duncan‘s fiddle playing is beautifully intertwined with the music of Hamish Napier or Donald Shaw on piano, Jarlath Henderson on uilleann pipes and whistles, Ross Hamilton on bass and electric guitar and Martin O‘Neill on bodhran, as well as the wonderful addition of a string quartet (three violins and a cello). The tunes are mostly composed by Duncan, some jointly with Hamish Napier. What can I say – this album is pure magic!
© Michael Moll


Mynsterland "Mynsterland"
GO Danish Folk Music, 2017

www.mynsterland.dk

Artist Video

No less than 13 young musicians have joined forces in this exciting new Danish folk band. Having been taught together by Denmark’s most famous fiddler, Harald Haugaard, at the South Danish Folk Music Academy, they enjoyed playing together so much that they continued to collaborate after completion of their course.
We have over recent years heard many Nordic and Celtic bands with the power of many fiddlers - Mynsterland joins this list, featuring an impressive five fiddlers. Add to that accordion, cello, clarinet, two guitars, a mandolin and a bass – and not to forget a singer with a beautiful clear voice. And you have Mynsterland.
With six tracks and just under half an hour playing time, this is more of an EP, yet as so often quality is more important than quantity, and thus despite its shortness this album is outstanding. Powerful original tunes, with the fiery sound of the five fiddles, tastefully arranged with all those other instruments, plus two calm and delightful Danish songs, provide plenty of enjoyment. Welcome to a new brilliant band of Nordic contemporary folk.
© Michael Moll


Duncan McCrone "Land of Gold"
Greentrax, 2018

www.duncanmccrone.com

Scottish singer/songwriter Duncan McCrone describes the songs on this album as a „collection of short stories“, and indeed are ballads that tell stories. Glasgow born, Duncan is a longstanding singer on the Scottish scene. His latest album features six new songs and six covers from songwriters of the same mould as Duncan - Eric Bogle, Ewan MacColl, Matt McGinn, Graeme Miles. His standing in Scotland is evidenced by the fact that he is joined on the album by some of the best musicians the Scottish folk scene can offer - including Fiddler Chris Stout, accordionist Sandy Brechin, Steve Lawrence, Finlay MacDonald, Fraser Speirs, Cartoons McKay. A warm album in a classic Scottish songwriter style.
© Michael Moll


Wouter en de Draak "Wouter en de Draak"
Own label, 2017

www.wouterkuyper.nl

Artist Video

While the name suggests that Wouter Kuyper, on diatonic accordion and recorder, is the main driving force of this Dutch duo, this may be unfair to his duo partner Joris Alblas on acoustic guitar - as both of them not only shine on their instruments but also contribute each their own compositions to the album. Indeed all tunes on this album are composed by either of the musicians, and include a variety of dances from the Bal Folk tradition, from waltzes via Scottishes and Hanterdros to Bourees and Cercles. The two musicians are supported on some numbers on flugelhorn, trumpet, flute and percussion, and the album was produced by wonderful guitarist Philip Masure. The music is light and airy, beautifully and gently floating like a butterfly in the summer sky. The music has that Flemish Bal Folk magic and provides an extremely enjoyable listening experience.
© Michael Moll


Lankum "Between the earth and sky"
Rough Trade Records, 2017

www.lankumdublin.com

Regular readers will know that usually well reputed Irish folk musicians float my boat. This folk quartet from Dublin has been celebrated by the media as one of the most exciting recent acts of trad song in Ireland. However, Lankum’s music is not my cup of tea. While the choice of largely traditional songs on the album is fine, I am not that keen on the singing, often very slow, with voices and harmonies which are in my ears more on the rough rather than beautiful side. And while the instrumentation - with uilleann pipes, fiddle, concertina, guitar, harmonium - could add excitement, the songs and tunes are played nearly in slow motion and just do not do it for me. Sorry guys, but I cannot get into this album, nor into your live performances.
© Michael Moll


Trio Wolski "Late Bloomer"
Gateway Music, 20118

www.triowolski.org

A Swedish trio creating their very own deeply Scandinavian, yet new music. Featuring Hanna Blomberg on violin, Petter Ferneman on accordion and Kristian Wolski on cittern, the trio plays largely their own material. Inspired by traditional Scandinavian folk music, the instrumental music takes the listener on a free-spirited journey. It effortlessly moves from traditional themes to jazz improvisation, to then find itself in a classical atmosphere. It’s beautiful music which lends itself equally to day dreaming and to intense listening - every time you listen to the album you’ll discover new aspects in the music.
© Michael Moll


Baile an Salsa "Eriu"
Own label, 2018

www.baileansalsa.com

German CD Review

Artist Video

There’s magic happening when Celtic music merges with Latin sounds, as we all know very well since Salsa Celtica.
Baile an Salsa was formed in Galway, merging Irish trad and Latin music. Here traditional Irish tunes, on instruments such as fiddle, whistles, pipes, accordion and banjos, effortlessly merge with Latin percussion rhythms or Cuban style piano. Irish sounding tunes morph into Latin songs, and Latin songs in Spanish language interchange with Irish songs (in English language) rooted in Irish traditions. The nine musicians in this band are truly international - Irish musicians join forces with musicians from Southern and Latin America, the USA and Italy. The result is equally unique and superb, and hopefully they bring with their happy music some more sunshine to a festival or venue near you – and if not you, there is always this CD to bring sunshine into your home.
© Michael Moll


Vardos "Palazzo Party"
Own label, 2017

www.vardos.com.au

This band transports you directly to a Romanian village, with their spirited traditional Eastern European music - yet these four musicians are from Australia. Having learnt the music from Roma musicians during their travels in Eastern Europe, Vardos got immersed in these traditions and now, a couple of decades later, they sound fully at home in Eastern Europe. Spearheaded by wonderful violinist Alana Hunt, Vardos are a normally a trio featuring also accordion, double bass and vocals. For this album, they are joined by a hammered dulcimer player, Tim Meyen. The title of this live album “Palazzo Party” gives an indication of the music, as it creates party atmosphere - energetic acoustic Eastern European dance music and songs played with passion.
© Michael Moll


Dougie MacLean "New Tomorrow"
Dunkeld Records, 2017

www.dougiemaclean.com

Artist Video

If you are into the concept of “national treasures”, then Dougie MacLean certainly would be one of Scotland’s national treasures. His songs and his warm performances have a very special place in Scotland’s and indeed international folk music fans’ hearts. Aged 64, his latest album sees Dougie in top form as both singer and songwriter. While it is a studio album, “New tomorrow” features live audiences for the chorus of a number of songs, to great effect. I often find that when you read the lyrics of Dougie MacLean songs they perhaps do not read that exciting - but when they are sung by Dougie they become the most amazing works of art and suddenly become deeply meaningful to the listener. The album is, as previous albums, again produced by Dougie’s son Jamie who also provides the percussion.
This is a really beautiful and charming album which will further widen his audiences across the world.
© Michael Moll


Adam Sutherland "Some other land"
Errogie Records, 2018

www.adamsutherland.co.uk

Artist Video

There seems to be an unwritten rule - whereever you’ll find Adam Surherland you’ll find some of the most exciting and trendy Scottish music. Over the years Adam has played with an impressive array of the best out there: The Treacherous Orchestra, Session A9, Peatbog Faeries, Babelfish, Croft No. Five, plus appearances with Salsa Celtica.[54]
„Some other land“ celebrates Adam as a solo artist - although “solo” doesn’t mean “solo”: Adam is joined by a number of musical companions, including the likes of Iain Copeland on Drums, John Somerville on accordion, Hamish Napier on keys and vocals and Marc Clement on guitar. The tunes on the album are all self-penned in a Scottish trad style yet arranged in a contemporary folk rock way. The music draws on his vast experience from his extensive musical career, and the quality of the music belies his young age. One of the really gifted fiddlers on the Scottish scene.
© Michael Moll


Reel Bach Consort "Bach, give us a tune"
Own label, 2017

www.reel-Bach-consort.de

As this ensemble states, very little has been researched about Johann Sebastian Bach’s visit to Ireland, and the influence this has had on his music. For the last 10 years, the Reel Bach Consort has dedicated their time to research many alternative sources to find out more. You can never be quite certain which bits of the sleeve notes are to be taken serious; my guess is that most of it is based on real research, just that some of the sources may be less certain - both the music is played and the sleeve notes are written in a light hearted way, with free interpretation.
So the music successfully combines Bach music and songs with what the ensemble believes are the traditional Irish tunes that inspired Bach for his compositions. The blend of traditional and classical music is also reflected in the makeup of the 10 piece ensemble - featuring harp, violins, uilleann pipes, double bass, organ, accordion, bodhran. The journey starts on the way to Ireland in France, with a set of Gavottes. In Ireland, it features the double concert “D Moll”. This was originally composed for fiddle and uilleann pipes but when coming back to Germany Bach realised that German bagpipes were not chromatically suited so he had to rewrite the tune. This set also features, in “Sinfonia”, the Gaelic song that inspired the tune. The album also features the song “Willst Du Dein Herz mir schenken” based on “Down by the Salley Gardens”, “Toccata” and - probably less related to Bach - the “Rocky Road To Dublin”. An album that should appeal to both classical and folk music listeners.
© Michael Moll


L’Alba "A Parulluccia"

www.l-alba.com

I have to admit that I expected a Scottish connection with a band named Alba - but how wrong I was: L’Alba celebrates Corsican music and song traditions. The band’s focus is on songs in Corsican language, many sounding slow, mournful and intense, with a fair few featuring polyphonic singing. Nevertheless there’s something uplifting in the music - the songs are beautifully arranged with an interesting range of instruments, including clarinet, violin, various string instruments and accordion. The latter is played on the album by Madagascan accordionist Regis Gizavo who unfortunately passed away since the recording. The arrangements are contemporary and blend in a number of Mediterranean music traditions. This album is not exactly new - it was recorded a few years ago, but has now been re-released commercially.
© Michael Moll


Teres Aoutes String Band "lo Rock’n’Roll de la mountagna"
iM Digital, 2017

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The quartet from the Italian alpine region blends music traditions from the Italian mountains with Folk influences from the British Isles. This is an enjoyable album with music and song that feels fresh and appealing. The band’s sound features an imaginative violin player, as well as mandolin, guitars, bass and other instruments. The singing is warm and homely. Generally, the occasional Anglo folk influences work and make the music accessible and lively, although there is one track that does not work for me: a translated version of “Dirty Old Town”.
© Michael Moll


Fil Campbell & Tom McFarland "Together"
Own label, 2017

www.filcampbell.com

Artist Video

Fil Campbell has long been known as one of the first and foremost singers from Northern Ireland, with her warm full voice. On her latest duo album with husband and percussionist Tom McFarland, Tom’s singing contribution is more significant than on the albums of the duo that I have previously listened to. This is a very welcome addition, as Tom’s singing is very pleasant too, in a style similar to the Sands Family. It also adds more variety to the album.
Apart from two classic folk songs, “Peace in Erin” and “The Maples Lament”, all songs are composed by the duo. Topics are, in broad terms, reconciliation, peace and reflections on life; many songs take a political or contemporary topic and reflect on it from a personal, usually positive and optimistic, perspective.
© Michael Moll


Julie Fowlis "Alterum"
Machair Records, 2018

www.juliefowlis.com

Artist Video

The stunning voice of this superb Gaelic singer, together with exquisite musical arrangements - Julie Fowlis’ new album is, once again, a hit. Julie’s beautiful voice has been known internationally since her early days in the Gaelic band Dochas. And since she embarked on a solo career, Eamon Doorley has been on her side, the wonderful musician of Danu fame playing his distinctive guitar-Bouzouki. „Alterum“ features in addition a stellar cast of guest musicians including Donald Shaw on piano and harmonium, fiddler Duncan Chisholm and Michael McGoldrick on flute and whistle. Even Donal Lunny on bodhran and Mary Chapin Carpenter on backing vocals make appearances. Three tracks feature also a five-piece string section, adding further depth to the sound. Yet despite all this talent it is Julie Fowlis’ singing that is in the centre of this album throughout.
Most of the songs are traditional Gaelic – ballads and mouth music - , as usual for Julie. However there are a few surprises - two English songs (Annie Briggs „Go your way“ and Archie Fisher’s „Windward Away“), a Galician song partly translated into Gaelic, and to finish off a contemporary poem by Catriona Montgomery initially recited in English and then sung in Gaelic. A beautiful, beautiful album.
© Michael Moll


Stewart Hardy & Frank McLaughlin "The Gift"
Claytara Records, 2018

www.stewarthardy.co.uk

A superb duo, Stewart Hardy is one of the top fiddlers of North-East England, while Frank McLaughlin is a talented guitarist and piper from Edinburgh. The album features a collection of their own compositions, in a traditional folk style. Their pairing of guitar and fiddle is ace, creating a wonderful soundscape evoking emotions and memories. There is a perfect roundedness and atmosphere to all the tunes - a delight to sit still and listen.
© Michael Moll


Niamh Varian-Barry "Wings"
Own label, 2018

www.niamhvarianbarry.com

A truly stunning album of fiddler and singer Niamh Varian-Barry. The former lead singer of Solas presents on this album a varied collection of songs and tunes that effortlessly bridge trad Irish, classical music and contemporary songwriting. Niamh’s fiddle playing has a natural flow and rich sound, her singing is expressive and beautiful.
Niamh is joined on the album by a superb range of guest musicians: Natalie Haas‘ cello provides additional atmosphere, while guitarist Gerry O‘Beirne and Peter Staunton on accordion offer a full backing sound. A mix of self-composed, contemporary and traditional songs and instrumentals, the album is a showcase of a simply wonderful musician.
© Michael Moll


Karine Polwart with Pippa Murphy "A pocket of wind resistance"
Hudson Records, 2017

www.karinepolwart.com

Artist Video

Over the years, Karine Polwart has built up her reputation as one of Scotland’s leading folk singers; with her beautiful clear voice she has charmed many an audience. Her latest recording, “A pocket of wind resistance”, is much more than just an album of folk songs - it’s a piece of art, perhaps more like an attractive art installation, where songs and poetry come together with gentle music, soundscapes and field recordings to create an evocative whole. The album paints a poetic story around the wonders of migrating birds, reflecting on ecology, myth, human memories - birth, death, love, loss. Some words are new, particularly the poetry, yet many are based on traditional songs.
The album is a companion to an award-winning live theatre production which was premiered at Edinburgh International Festival in 2016 – but as Karine points out in the sleeve notes it is a companion and not an attempt to capture the live performance. It is an album that mesmerises, with its mythic lyrics, its blend of narration, song and sounds, all carried by the clear and charming voice of Karine. It’s not a surprise that the album is shortlisted for one of the prestigious Scottish music awards, the SAY Award.
© Michael Moll


Sebastian & Mathaeus "Ind-/Udgand"
GO Danish Folk Music, 2017

www.mathaeus.dk

A duo of double bass and guitar is certainly not your most common Danish folk music instrument combination. The two young musicians, Sebastian Bloch and Matheus Bech, were introduced to Danish folk music by no other than Harald Haugaard, through the South Danish Folk Music Talent School - which led them to respectively study at Esbjerg and Copenhagen Musik Conservatory. While their music is inspired by Nordic Folk sounds, the tracks on the album are nearly all their own compositions. The pairing of guitar and double bass is perfect, and the music has a meditative flair, played with skill and imagination.
© Michael Moll


Gillebride MacMillan "Freumhan Falaichte/Hidden roots"
Own label, 2018

www.gillebride.com

A true modern life bard, Gillebride is a Gaelic singer, songwriter, poet and writer. His album features eleven of his own songs, presented in a contemporary folk style, accessible yet full of depth. The topics of the songs show that Gillebride‘s Gaelic poetry is firmly set in today’s time: he writes about how we should welcome refugees, about the city of Santiago de Compostela, about autism, as well as about his parents’ love for dancing or in praise for the Gaelic bardic traditions. Even if you cannot understand a word of Gaelic, the album is powerful, and you feel that this is a singer who has something to say. The musical arrangements are highly effective, with the album featuring a host of superb musicians, including the unique cellist Natalie Haas, distinctive flautist and saxophonist Fraser Fifield, Donald Hay on drums, Ewan MacPherson on guitar, mandolin and bass, Anna Wendy Stevenson on fiddle and viola and Mhairi Hall on piano.
Gillebride’s first two albums were of traditional songs, so this album of original songs is a highly welcome new perspective on the bard. Other than a gifted singer, he is also a writer and has translated a number of books into Gaelic, including Romeo and Juliet and three “Adventures of Tintin” books.
© Michael Moll


Atalyja "Atalyja
Sutaras, 2011/2018

www.atalyja.com

I think this album is the very first Lithuanian music I have heard. Atalyja is a well established Lithuanian contemporary folk band, looking to bring ancient Lithuanian singing traditions to today’s audiences. The music on the CD is dominated by archaic polyphonic singing (“Sutartines”), with powerful harmonies of three female singers. Despite Lithuanian’s location near the Baltic and Scandinavia, I would have guessed these songs to come from a more central or Southern part of Eastern Europe. A few other tracks do have some Scandinavian or Finnish flair. The band features a fascinating combination of Lithuanian traditional instruments (panpipes, psaltery, bagpipes, Jews’ harp), rock instruments (drums/percussion, electric and bass guitars) and some Indian instruments. While focussed on Lithuanian traditions, the music is inspired by other music styles.
This 2001 album was re-released to celebrate the band’s 20th anniversary, with the addition of four previously unreleased tracks. I hope this review makes you curious to discover the intriguing music of Atalyja.
© Michael Moll


Plantec "Festival Interceltique de Lorient - Live" [CD/DVD]
Coop Breizh, 2018

www.plantec.fr

Artist Video

This interesting and innovative trio from Brittany in France blends old traditional Fest Noz music with modern and experimental sounds – labelled “Fest Noz Trad Electro”. The sound is dominated by the intense sound of a bombarde which is combined with guitar and electronic loops and beats. Plantec is made up of brothers Yannick and Odran Plantec on guitar and bombarde plus DJ Ibril. The trio manages to create music that stays true to Breton traditions yet gives it an ultra-modern edge that will readily appeal to younger generations.
This album combines a live audio CD with a DVD. The DVD, recorded at the Lorient Festival, gives the viewer a good impression what Plantec are really about - their hypnotic and danceable music (also often Fest Noz style) seems to have a huge fan base and you can’t stop being drawn into the ecstasy of the gig when viewing the video. The music album is a great introduction to the mighty blend of music of this trio, yet will equally appeal to Plantec’s many fans.
© Michael Moll


Plantec "Festival Interceltique de Lorient - Live" [CD/DVD]
Own Label, 2018

www.plantec.fr

Bombarde, guitar and electronica - a simple formula, and this young Breton trio makes it fly. Their music is clearly from the dance tradition, with each track designated as a polka, gavotte, rond or other dance form, but Plantec add a modern festival groove: heavy percussion, chanting, electronic effects, and an impressive light show as you can see from the professionally produced DVD. The CD is essentially the soundtrack of the video version - same concert, same running order, but without the lashing dreadlocks of keyboard maestro DjiBril, the twisting fingers of guitarist Yannick Plantec, and the sweat dripping from his brother Odran on bombarde.
Never a dull moment, from the relatively gentle Red An Amzer to the pulsing final Feulz, this live album is full of energy and drive. Hypnotic, captivating, the compositions of this trio are exciting and uplifting, and their performance is first class. Odran handles the bombarde like a jazz sax, screaming and wailing, but also rattling out a rapid stream of notes which keep the dancers moving. Tennder is a good example, in the Breton "kost er hoet" rhythm, languid and lively by turns. Yannick can also pump out a punchy melody on guitar, although the bombarde carries the tune mostly. The combination of these two acoustic instruments with a synthesised backing works amazingly well for Plantec, and gives them a wide range of sounds to choose from, in addition to producing great dance music.
© Alex Monaghan


Tjango "Greens and Blues"
Own label, 2017

www.tjango.fi

The name of this quartet gives the theme of the music away - there’s some Tango and some Django Reinhardt! Sprinkle this with some jazzy improvisation, some Nordic, world and other musical influences including bluegrass and bossa nova, and you have a good picture what Tjango are about. The Finnish musicians play accordion, guitar, double bass and fiddle, and all tracks on the album are composed by band members. A chilled swinging album with some great musical ideas.
© Michael Moll


Tjango! "Greens and Blues"
Own Label, 2017

www.tjango.fi

We have experience with bands who stick an exclamation mark on their name, so let's just assume that won't last. Tjango are a Finnish four-piece of fiddle, accordion, guitar and bass, and as you might expect they play music close to gypsy jazz - sort of Cold Club de Baltic. All four members display the virtuoso level musicianship which Finland seems to produce consistently, and their ensemble playing is tighter than a reindeer's rump. Blues, swing, ragtime or jazz waltz, every one of the eleven pieces here is a joy.
Led by accordionist Antti Leinonen, Tjango claims composing credits for all the music on Greens and Blues. Their Waltz for Lina strays close to Paris accordion classics, while Hum-Boogie-Woogie leans heavily on American swing fiddle tunes. The Leaves are Falling is a lovely country waltz emphasising Tero Hyväuoma's fiddle. Swing 17 to my ears is more Klezmer than Klondike, and good luck doing your first dance to Wedding Waltz! Guitarist Otto Tolonen shines on Dagger Rag, a fabulous fusion of ragtime, jazz and country styles. Winter Garden gives bassist Tarmo Anttila a chance to strut his stuff, walking up and down the fingerboard behind a beautifully stark gypsy jazz melody. The final piece is surprisingly gentle, a poignant waltz which underlines the delicacy of Tjango's playing as well as its life and soul.
© Alex Monaghan


Yves Lambert Trio "Tentation"
Own Label, 2018

www.yveslambert.com

German CD Review

The original singer and accordionist with the phenomenal Quebec band La Bottine Souriante, Yves Lambert is an icon of the French Canadian tradition, renowned as a composer, performer and general fomenter of unrest in the traditional music of Quebec. Here he is joined by ace fiddler Tommy Gauthier and talented guitarist Olivier Rondeau for an intense collection of songs and tunes, sometimes both at once, taking the best of Canadian music and adding a large spoonful of Lambert's secret sauce.
Talking of secret sauce, Tentation opens with a humorous ballad of chickens, priests, and the dire consequences of dipping your baguette in someone else's gravy. This folk-rock arrangement is followed by a more sombre song about drunkenness and poverty, and then a medley of reels starting with a Cape Breton strathspey-like version of The Humours of Tulla and ending with La Deboulade by Mr Gauthier. The fiddling on this album is prodigious, whether straight acoustic or souped-up rockabilly, and every instrumental track is a delight: the Montreal bluesy Coquette à Poupa, the Irish-inspired Vent d'Irelande with delicate fingerpicking from Olivier, and the reels paired with Yves' songs - in particular the wonderful Cajun Reel du Cocu.
Tentation has a theme of drink, sin, and demons: the mediaeval festival of La Mistrine where the common people set traps for the devil, the privileged debauchery of rich lawyers in Cousinage, the rollicking Adultère with its tale of neighbourly relations, and the final cautionary verses of VIP Pour L'Enfer which remind us that even the President can be carted off to the torments of hell. In fact, the only uplifting song here is Le Lac Rond, an anthem of praise for life in rural Quebec, quite out of keeping with the dark humour and driving beat of this exceptional album.
© Alex Monaghan


Airu "Mosaik"
Own Label, 2018

www.duo-airu.de

Artist Video

Central European dance music on pipes, nickelharpa, concertina and guitar from two young German musicians: Rick Krüger and Björn Kaidel deliver Breton, French, German, Scandinavian and Baltic dances, mainly their own compositions, simple melodies sweetly played on pipes and nyckelharpa for the most part. Breton hanter dro and other rhythms, central French Bourrées and schottisches, and Swedish polskas flow over percussive chords. Improbable names like Gepresster Tofu and Spaghetti mit Cornflakes hide attractive tunes. The traditional Manschester is a little disappointing, but every other piece here is entertaining, even though the concertina needs more polish. For a duo, Airu make an impressive sound and have a wide range of talents to develop.
© Alex Monaghan


Herbert Pixner Projekt "Lost Elysion"
Hoanzl, 2018

www.herbert-pixner.com

German CD Review

Austrian virtuoso Herbert Pixner[63] plays button accordion, brass and clarinet for a selection of folk, folk-rock and jazz-rock, ably assisted by Heidi Pixner on Celtic harp and other band members on guitars, bass and percussion. There's little here to lead directly back to his Steirisch roots, no waltzes or Austrian laendler melodies, but Lost Elysion still has a folky feel. The title track is a dreamy air, and the following Serpent growls as it winds its way through paradise. Toccata from Another World is somewhere between Hummel and Hawaii Five-O, driving and dramatic, recalling the rock operas of the seventies - Queen, Rainbow and others. Pixner lets Anna develop and flow into the filmic Alps, multi-layered like most of his compositions.
After a brief interlude of birdsong and breezes, Electrifying Overture shows fabulous dexterity on the Austrian diatonic accordion, merged with metal guitar for a swamp trash sound. Bluesky is different again, steamy sax and twinkling harp, more Sinatra than Südtirol, although there are no vocals on this album. American Polka would fit nicely into a Dukes of Hazzard soundtrack, a stream of accordion notes for a car chase or barn dance fight scene perhaps. Notturno is quite different, maybe the dazed awakening after the dance, or the stars wheeling over an abandoned squad car. The final Ninna Nanna returns to the folky sound, almost an Italian mandolin tune, gentle and relaxing. Not quite final, as there is a ten-minute reprise of the opening track. Lost Elysion is one to peruse, to puzzle over, to put on late at night and see what transpires.
© Alex Monaghan


Øyvind Brabant "Breksja"
Etnisk Musikklubb, 2018

Subtitled "Traditional Music from Hallingdal", this recording is solo Hardanger fiddle at its purest and best. Although now in his sixties, Brabant is still a formidable fiddler, perhaps even at his peak - although he won the Norwegian national title in 1993. Folk music is quite formalised in Norway, with leagues and divisions, national and local competitions, and Brabant has been part of this framework since his early teens, earning numerous accolades but never becoming a fully professional fiddler. In the Scandinavian way, he learnt his local style and repertoire, listening to other fiddlers and playing for dancing, and while he can play just like previous generations he has also put his own stamp on the tunes of Hallingdal. At least, that's what the album notes tell me: the biographical details are in Norwegian and English, but the notes on individual tracks are only in Norwegian.
The sixteen tracks on Breksja are mostly newly recorded, with five older pieces from competitions between 1989 and 2016. The majority are springar dances, with a few laus dances for variety - but variety is not a major characteristic of this CD. Brabant produces a wall of sound from start to finish, double-stopped harmonies adding to the sympathetic strings of the Hardanger fiddle. Many pieces are played in a high bass tuning, and some are played in the more unusual "troll tuning". The only tune I recognise here is Klunkespringar, which was recorded in the 1980s by the Faroese group Spaelemeninir i Høydolum: Brabant's version is only slightly different. The dexterity and technique shown on Breksja is stunning, every note precise, every beat in time, and every bow stroke perfectly measured. No surprise perhaps after half a century of playing for dancers, but Brabant performs with such exquisite style: just listen to the final flourishes of Skjelleruden, or the start of Spretten with its high chords and ornaments. There is no doubt that Øyvind Brabant is an outstanding exponent of the Hardanger fiddle, and Breksja records him in full command of this unique instrument.
© Alex Monaghan


Mads Hansens Kapel "På den Forkerte Side"
GO Folk, 2017

www.madshansenskapel.dk

A brief taste of an exceptional Danish quintet, led by clarinet and fiddle, with a thumping underside of guitar, bass and piano: this EP contains one mazurka, one polka, one polska, one waltz and one hopsa, a microcosm of Danish dance music. Flot Middag Mazurka begins in an orderly fashion on violin and piano, but the playful clarinet soon butts in, and the back line starts to hit the offbeat behind the smooth fiddle notes. The title polka is unashamedly sinful, striking up with its head held high and its feet pumping. There's a jazzy beat to the polska Fryksdals, moody clarinet over rock'n'roll piano, leading to a showpiece ending. Til Ulejlighed Vals is charming despite its title, and the final Rosette Hopsa moves like a champion horse, galloping and springing, with a clatter of hooves and a spirited whinny. Good music, glorious musicianship, and great fun: it's just a pity there isn't more of Mads Hansens Kapel's music here!
© Alex Monaghan


Juuri & Juuri "Korpin Marssi"
Nordic Notes, 2018

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This Finnish pair open with a traditional take on Jesus Christ Superstar which is a considerable improvement on Andrew Lloyd-Webber's version. Their mix of old Pelimanni melodies and newer Swedish-influenced Finnish music is intoxicating: the raw sound of nyckelharpa and harmonica, the subtler tones of fiddle and harmonium, and the exotic rhythms of Europe's far north. Minuets and polkas are relatively familiar, but given a less Teutonic twist here. Old Finnish waltzes, kantele tunes and bowed lyre pieces possess a primal spirit, a hypnotic swirling and a stark beauty born of a frozen landscape.
The crystal tones of Kanteleella and Jouhikolla contrast with the more modern forms of Enlundin Menuetti and the almost Danish-sounding Neljän Valtakunnan Polkka. Clearly Finnish but leaning south-west, Vanha Valssi is somewhere in between: Juuri & Juuri understandably compare it to Appalachian music, strong and earthy with discordant shapes which nonetheless make sense. With light vocals on two tracks and compelling musicianship throughout, Korpin Marssi is a very impressive CD and a fascinating perspective on a broad range of Finnish music.
© Alex Monaghan


Yvonne Casey "Croí"
Own Label, 2018

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This second CD from fine Clare fiddler Yvonne Casey has been a long time coming: her debut album was almost a decade ago, and the promise it showed has certainly been realised on Croí. The Irish heart of the title shines through each track here, and Yvonne's style is a rare joy for any fan of fiddle music. Neither East or West Clare, this music comes from the north of the county and edges towards the East Galway style of Paddy Fahey and Lucy Farr among others. I was strongly reminded of the Kane sisters, and also of older players like Martin Rochford and Mairtin Byrnes. There's a gentleness, a lyricism, and a simplicity in Casey's fiddling which is very appealing. With recommendations from both Martin Hayes and Tommy Peoples, this CD literally has quality written all over it. Yvonne is also one of the lucky few to have had a tune dedicated to her by the late great Tommy Peoples, a charming melodic reel which gets a full track to itself here.
There are actually very few "old" tunes on Croí. A couple were recorded as long ago as 1929, but most of the others are more recent. Compositions by Finbarr and John Dwyer, Charlie Lennon, Billy McComiskey, Ann Conroy-Burke, Paddy O'Brien and Jerry Holland jostle with seven of Yvonne's own tunes: The Fairy Ring, Kieran's Jig, Wood Road and the final slip-jig The Gift of Music immediately resonated with me. There's also a beautiful Native American air simply called The Cradle Song. Casey's fiddle is expertly assisted by Eoin O'Neill's bouzouki, Dermot Byrne's accordion, and Jon O'Connell's guitar: Jon doubles on bass too. I could have coped with a few more long rolls on the slower sets, but the ornamentation seems just right on jauntier pieces such as The Palm Tree and An Siocán Sneachta. Perfectly poised and full of feeling, Croí is well worth a listen. Yvonne Casey's first album is also still available online at least. If you have any difficulty finding either recording, drop a line to yvonnecaseymusic@gmail.com or try our old tax-free friend Google.
© Alex Monaghan


Bryony Griffith "Hover"
Selwyn Music, 2018

www.bryonygriffith.com

An English fiddler from Huddersfield, Bryony Griffith has been performing since a young age with bands such as Bedlam and the infamous Demon Barbers. Ceilidhs, concerts and Cotswold Morris have all seen her skilful touch, and she has a previous solo CD Nightshade which was well received a few years ago. Despite all this, her music is new to me and a very enjoyable addition to my small but select English library. Hover benefits from occasional accompaniment by Ian Stephenson, but it's almost all fiddle and almost all English, firmly traditional with nothing more recent than the mid 19th century.
You can't play much English music without stumbling across Morris tunes. On this album there are half a dozen, plus one or two pieces for other English ritual dances. Bryony opens with Ladies' Pleasure, a dance from the Bledington tradition, quite gentle and charming, followed by one of the many versions of Constant Billy with appropriately muscular fiddling. Her version of Orange in Bloom is slower than I'm used to, fitting in with the stately Castle Minuet from an 18th century Yorkshire manuscript. Griffith's pace quickens for a Scottish medley of The Gobby-O and The Lads of Duns, a Rapper sword set: they like their jigs lively for Rapper. Back to Morris, and Queen's Delight is one of my favourites here, played as if for the dance.
Other highlights on Hover for me include The Recovery, a very fine tune of unknown origin with a bouncy guitar backing, and the challenging Cheshire 3/2 hornpipe Hodgson Square with second fiddle harmonies. Staines Morris is one of the more well known tunes here, but Staines needs every plug it can get these days. Bryony finishes with Burnett's Jig, actually a rather beautiful slow air in her hands, showing a delicacy and sensitivity which is rare in the straight English fiddle style. This is a varied and highly enjoyable collection, and worth a listen whatever your taste in folk music.
© Alex Monaghan



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