FolkWorld #73 11/2020

CD Reviews

Robb Johnson & The Irregulars "Pandemic Songs"
Irregular Records, 2020

Artist Video

Robb Johnson

www.robbjohnson.co.uk

Last Man Standing! At least, one of only a few songwriters left who dare to have an opinion and speak out! Robb Johnson[30][71] has to be mentioned for the UK music scene in this regard. These "Pandemic Songs" have been written from a British-Boris-Brexit perspective between March and June 2020. It is a chronological account in musical form of the break-, lock- and shutdown. (The only non-pandemic song recounts the death of George Floyd in May in Minnesota.) Robb held his last concert on 16th March, "Monday Afternoon at the Paris House," a Brighton café that was proud of housing live music every day. Afterwards there were disinfectants, masks, ventilators, and applause only for the National Health Service. Robb's outpour within three months had been quick and dirty, nevertheless, quality beats quantity. It is both serious and satirical, both grim and witty. Anger and gallows humour beats sadness and melancholy: the EU offers ventilators but the Brexit boys refuse, we'll have British ventilators just hold your breath til then. Robb has a clear concept of the enemy: blame the vanities, incompetence, hypocrisy, failures of the bankers, the accountants, the rulers. At least, he found the poetical solution for the problem: Today I went to Tescos, today the sky was blue. They had people in the car park to show you where to queue. There was black & yellow tape down to show you where to stand. Everything was thought out, every detail planned. If Tesco workers ran the country we'd be a whole lot better off... Unfortunatly, at the time of writing the damn virus is still with us. When this is all over, you might use these songs in school to remember what really happened. Though Robb plays the cynic: "Of course, most of us won't remember and will vote for these bastards again." As I said, last man standing...
P.S.: Check out "Pandemic Songs" @ BandCamp and the audio from the online "Live From The Hove Palladium"! P.P.S.: Robb's annual "Bah! Humbug!" CD will be available from Monday 14th December from the Irregular Records online shop, featuring 10 songs written over the course of 2020, particularly this year's seasonal single "Shut Up & Just Go (Xmas) Shopping".
© Walkin' T😊M


Rura "Live at the Old Fruitmarket"
Own label, 2020

Artist Audio

www.rura.co.uk

Contemporary folk quartet Rura, who had released a series of splendid records over the past decade,[48][58][57][68] were celebrating their successful ten-years-career during the 2020 Celtic Connections festival. Ten years ago Celtic Connections meant their breakthrough when they won the Danny Kyle Award.[68] In 2020, 1,200 people squeezed themselves into The Old Fruitmarket, Glasgow's popular concert hall, to watch, listen to and party with piper Steve Blake, flutist David Foley, fiddler Jack Smedley and guitarist Adam Brown, plus a string quartet (Seonaid Aitken and Megan Henderson of Breabach fame on violin, Patsy Reid on viola and Alice Allen on cello) and guests such as pipers Finlay Macdonald (newly appointed director of the National Piping Centre) and Ali Hutton (Treacherous Orchestra), electric guitarist Chris Waite and double bassist James Lindsay (also of Breabach). Former Rura singer Adam Holmes lends his voice once again for two of his self-penned songs. The group invented themselves as an instrumental quartet with all-original material when he left; and though Rura's entire career is echoed, the majority of these tracks comes from 2018's "In Praise of Home."[68] The live set begins steady and slow, speeding up and getting quite intricate. Rura builds layered soundscapes, at times even more plenteous than on the studio recordings. Just sample "The Glorious 45" set, with Ali Hutton gracefully whistling away before slipping into David Foley's feverish piece. By the way, latter tune has been named after the 45 percent of Scots who voted for independence in the 2014 referendum. The audience is pogoing frenetically, clapping enthusiastically, shouting for an encore.
Jack Smedley says about the live release: "Over the past 10 years we have made incredible friends, made ridiculous memories and played a few tunes along the way. We want to thank everyone who joined us on stage that night at The Old Fruitmarket as well as every single person who has come to see us. We had a blast." Ah yes, that's what it was in the golden days when there was live music. "Live at the Old Fruitmarket" is fine reminder - until the lads are on the road again.
© Walkin' T😊M


The Wilderness Yet "The Wilderness Yet"
Own label, 2020

Artist Video

The Wilderness Yet

www.thewildernessyet.com

The recording debut of a new English trio, though no greenhorns on the folk music circuit. Rowan Piggott is a traditional fiddler who came all the way from the scenically bare but musically rich Burren area in the West of Ireland. Guitarist-flautist Philippe Barnes[72] (Brighton-born with roots in Ireland, Scotland, France and Germany) left his mark touring with the David Munnelly Band, All Jigged Out and Crossharbour. Vocalist and BBC Young Folk Award finalist Rosie Hodgson from Sussex also featured on the Crossharbour album and recorded a critically acclaimed debut album, "Rise Aurora." On their trio debut, the three together produce gorgeous harmonies and lush arrangements. There is a cool version of the traditional murder ballad "A Bruton Farmer" (watch the beautiful shadow play video). Eric Bogle's "Song of the Whale" is combined with a haunting slow air conjuring up the fishermen of yore who were bewildered by the seemingly supernatural sound coming from the seas. Rowan raises the alarm for the endangered bee population ("Queen & Country"): Where there once was a gate to palace of gold, flanked by guards in their striped livery, you'll find corpses piled high cause the honey's run dry. Indeed, there is a recurrent nature/environmental theme throughout the album, marvelling at the entire flora and fauna. The trio and their album is named after a verse in a Gerard Manley-Hopkins poem ("Inversnaid"): What would the world be once bereft of wet and of wildness? Let them be left, o let them be left, wilderness and wet! Long live the weeds, and the wilderness yet! Rowan and Philippe's fiddle/flute instrumental sets are a pleasure as well, drawing on English and Irish traditions with an escapade concerning a Swedish polska and Rosie lilting, "Hjältedyrkan" (Hero Worship), composed by Rowan for fiddle player Ben Paley (McDermott's Two Hours). Philippe accounts for three more original tunes, including a dedication for his fiddling schoolfriend Pete Lyons who had once introduced him to traditional music. It winds up with the touching "Seán Ó Duibhir A' Ghleanna" (dating back to the 17th century when Seán Ó Duibhir was one of the insurgent leaders in Tipperary) and introduces two musical guests driving the album towards a climax, former De Dannan members Johnny Ringo McDonagh (bodhran) and Charlie Piggott (button accordion).[71] If you haven't guessed it yet, yes, the latter is Rowan's dad... Please have a listen @ BandCamp!
© Walkin' T😊M


The Rheingans Sisters "Receiver"
Bendigedig, 2020

Artist Video

www.rheinganssisters.co.uk

"This is an album that has come from a commitment to waiting and listening to the world," says Anna Rheingans, "of reflection, of acceptance, curiosity and being brave enough to wait and see what will happen with things beyond our control." Sister Rowan adds, "Little did we know when we started writing this album how pertinent these themes would become to us during the pandemic of 2020. There is a gentle irony, looking back, in the fact that we chose ‘The Yellow Of The Flowers’ as the opening track. I wrote that song from a feeling of being trapped inside myself while watching the sort of monotonous every-day life of a city pour by the window and how the flowers shout life and vitality into that scene. Now, watching a bustling city moving past the window has an almost nostalgic quality to it – we long for a time when we took these things for granted. It’s a song which speaks to that loss, now, and also to the intrinsic push of life onwards, forwards alongside that loss."

The Rheingans Sisters' Anna and Rowan came to public attention when they won the 2016 BBC Radio 2 Folk Award for Best Original Track ("Mackerel" from the album "Already Home").[59] Their new album, "Receiver" (check it out @ BandCamp), has pleasant surprises abundantly. It has been produced by Andy Bell (Karine Polwart, Sam Sweeney) and released on the bendigedig label, who issue just one single record every year and brought us the lovely collaboration of Catrin Finch and Seckou Keita two years ago.[66] But let's take a step backwards first: Anna and Rowan grew up in the Peak District in Northern England, their dad being a renowned luthier who also manufactured the fiddles and banjos they are playing. The siblings didn't stop there but, for good measure, are always keen to employ instruments such as the flabuta (a small three holed flute from the Pyrenees), the tambourin à cordes (a long psaltery) or a Chinese bell tree (vertically interlaced metal bowls) besides various keyboard instruments. Both went on to study traditional fiddle music in Sweden and Norway, respectively. Whereas Rowan based herself in Sheffield, enriching the music of Nancy Kerr, Lady Maisery and Songs of Separation (ft. Eliza Carthy and Karine Polwart), Anna settled in Toulouse immersing herself in traditional French and Occitan music. Thus, "Receiver" is more in line with European than English musical traditions and their present-day execution. Anna and Rowan like to mention fiddlers such as Lena Willemark, Maarja Nuut or the Kjorstad brothers, or the work of Irish neo-trad group Lankum. Their output is deeply rooted in folk music, but their arrangements and compositions make it outright present-day. (Lets not forget the one and only guest musician here, improvisational jazz saxophonist Rachael Cohen.) You probably need a certain sense for adventure to enjoy this, but it is rewarding, if only trying to unravel the various threads thrown upon us. I just got a download of the mp3s, so I can only point to the lavish artwork of the physical CD: The 48-page booklet features the solargraphs of Pierre-Olivier Boulant (i.e. pin-hole camera images), described as the fruit of a patient mind listening to the outside world. Just as they received their music.
© Walkin' T😊M


Caroline Keane "Shine"
Own label, 2020

Artist Audio

www.carolinekeanemusic.com

Growing up in Limerick, Ireland, Caroline Keane had been exposed to the musical traditions of the Midlands as well as Clare to the north and Sliabh Luachra to the south. She picked up the concertina inspired and taught by Noel Hill,[66] she fully mastered the instrument while studying at the Irish World Academy of Music and Dance at Limerick University and developed a striking style of concertina playing. Since 2013 Caroline has been a member of FourWinds,[58] and she previously released a duo album with piper Tom Delaney.[65] For her debut solo album she wanted to play her favourite music with her favourite people. The latter were musicians such as Gerry O'Beirne, Conal O'Kane, Ryan Molloy, Alec Brown, Robbie Walsh, Tom Delany, Laura Kerr, Gearóid Ó Duinnín and Jeremy Spencer. The former includes old tunes as well as compositions from Liz Carroll, Vincent Broderick, Niall Vallely, Tommy Peoples and Josephine Keegan. Caroline wrote two tunes herself, "While the Cat's Away & The Wine Strand Polka," which greatly fit into the traditional canon. Ciarán Tourish's great "Carlisle Bay" is one of her favourite waltzes, as Tom Kitching says (see review below), "waltzes always seemed to raise a smile." So it does, it makes the whole body swing, whereas a piece like "The Flood on the Holm" makes you jump for joy. You cannot say this about every concertina recording; Caroline though retains the particularly cordial sound of the instrument while exhibiting ornamental features which are usually associated with pipes and fiddles. The latter tune, by the way, is an impressive five-part reel, reportedly made up by Donegal fiddler John Doherty from a bunch of James Scott Skinner tunes. Last one I like to mention is "When You're Gone I Say Your Name", a tender melody composed by guitarist Gerry O'Beirne, indeed, the only slow-going track here. This one, Shines as almost any note on this recording does.
Postscriptum. Caroline has a message from lockdown: "I was working on a lovely duet album with a good friend of mine, piano accordionist Fiona Black from the band The Outside Track, and we nearly have another album put together." Sounds good to me.
© Walkin' T😊M


Tom Kitching "Seasons of Change"
Talking Cat, 2020

Artist Audio

Tom Kitching

www.tomkitching.co.uk

Cheshire-born and Manchester-based fiddler Tom Kitching has been a member of the gimmick-free English folk group, Pilgrim's Way.[60] In 2015 the erstwhile BBC Radio 2 Young Folk Award finalist has released his debut solo album "Interloper".[57] Lately, Tom Kitching launched himself wholeheartedly into his Busk England Project, playing streets and corners all around England for 18 months. He travelled from coast to coalfields to suck in all the details you never get when just travelling from gig to gig. All along the way he wrote a catchpenny Busk England Blog, which eventually became a complete book. Tom says, “It isn’t really a book about busking. It’s about people, place and that elusive beast - Englishness. Fiddling through the streets of England offered a key to finding out how the English view themselves and how they deal with change – perhaps never more pertinent than now.” This is serious stuff, though at times easygoing and happy-go-lucky and a handful of anecdotes thrown in the hat for good measure: There's the passer-by who tosses a coin remarking, "Well, you're terrible but it's probably not your fault." The audio companion of the Busk England Project has been recorded in Danebridge Methodist Chapel in Staffordshire featuring Norwegian mandola and cittern player Marit Fält and Pilgrim's Way bandmate Jude Rees on the English Border pipes. Thus it is not the proper soundtrack to his trip but rather the summary of what he learned musically - and interpersonally - all along the way. There's a traditional reel, "Old Molly Oxford," followed by Tom's own composition, "Belt Driven." The first evoking nostalgic images of green pastures and peaceful villages, the latter rattling along like a steam-engine and recalling the industrial decline in many places. Traditional English music, old and new, has a lot to offer: Morris dancing, Playford tunes, on the other side of the Channel even a 18th century French tune and a recent composition of Belgian bagpiper Toon Van Mierlo (of Naragonia fame).[56] One of Tom's favourite busking tunes is hurdy-gurdy player Cliff Stapleton's "Eglantine Waltz," which he played a hundred times while crisscrossing the country; apparently a fan favourite as well: "waltzes always seemed to raise a smile." Tom Kitching is clearly rooted in the English tradition, though his approach is daring and full of energy. Cocky if he must attack, but delicate if a retreat is needed. The live album's title, "Seasons of Change," appropriately coincides with the pandemic and the Brexit; Tom wanted "to get under the skin of a country I thought I knew and really explore an instrument I also thought I knew - a year and a half of the most intense practise I'd ever done!"
© Walkin' T😊M


Hannah Harris "Tea for Tunes"
Own label, 2020

Artist Video

www.hannahharrisceol.com

Michigan-based fiddler Hannah Harris' debut album brews a delicious blend of traditional and contemporary Irish music. A Liz Carroll tune is no big surprise, if anything fiddler David Doocey (of Gráda fame) and Norwegian accordionist Anders Lillebo.[64] Originally from a classical background, Hannah has completely immersed herself into traditional Irish music. She mastered Ethnomusicology studies at University College Cork, and regularly participated in sessions at An Spailpín Fánach, a popular pub which has traditional music almost any night. Her fiddle playing is ingenious but going back a long way, self-described as a cross between Kevin Burke and Dennis Murphy. Hannah put in some milk and sugar, namely John Warstler on guitar and Stephanie Cope on piano and bodhrán. Furthermore, Hannah also selected some songs in both English and Irish. Her voice is bright and clear injecting the stories directly into the listener's bloodstream. John Spillane's "Passage West" is her favorite cover song from the Spailpín sessions (a love song set in famine times); "The Banks of the Lee" she got from a Caladh Nua album (another love song including separation and death of the loved one). There are two sean-nós songs, "Lough Erne's Shore" (Irish vision poetry, in English but probably derived from Gaelic origins) and "Carraig Aonair" (i.e. The Lone Rock, a father's lament for his drowned sons). A heady brew that after all is pristine and distinctive, like a premium sample of Darjeeling.
© Walkin' T😊M


Calvin Vollrath and Friends "20/20 Edition 1 & 2"
Own label, 2020

Editorial

Artist Video

www.calvinvollrath.com

Canadian fiddler Calvin Vollrath[25] just turned 60.[72] He is one of the few Canadians of European descent who adopted the Métis style, that particular Celtic fusion music of the First Nation Americans. He is also competent in the various styles of Canadian fiddling, as such he composed and performed a piece of five various fiddle tunes for the Winter Olympics in 2010 in Vancouver. No wonder, Calvin has been an inspiration to many (let me just name-drop April Verch),[40] and the late Jerry Holland[64] wrote a tune in his honour, "Calvin, Fiddler's Idol." This is reportedly Calvin's 70th album. He started composing in late 2019 and had more than 30 tunes when recording began this January. Too good to be true, it had to be a double disc, album number 70 and number 71, so to speak. To paint a bigger picture, Calvin recruited some of his friends. I recognize Troy MacGillivray (of Nova Scotia) and Daniel Lapp (of British Columbia). He even employed the Cullivoe Band from the Shetlands on "Hjaltland Two Step," the title recalling the old Norse name of these islands. "Sedante" is named for his oldest grandson, who is of Jamaican and Canadian descent, so he gets a reel with some groovy Jamaican rhythms added. Calvin eventually recalls his annual fiddle camp, Camp Calvin, with the only cover, the catchy "Dixie," which curiously popped into his head one day when diddling on the fiddle though he had never played that famous tune before. However, he does it as it has never done before, entirely performed in double stops. This technique of playing two strings simultaneously is often employed in Hardanger fiddling, but can also be found in North East Scotland, South West Ireland, Appalachian old-time fiddling, ... and the Métis style, I presume. Calvin's music is no muzak but requires a proper listening; he nevertheless hopes it will shine a positive light in our troubled world right now given the pandemic. At least, "20/20" is one of the essential fiddle albums to take into lockdown.
© Walkin' T😊M


The Black Brothers "Glackanacker"
Own label, 2020

Artist Video

www.black-brothers.com

Brothers Shay and Michael Black[35] belong to the renowned musical clan that also comprises their siblings Mary[57] and Frances.[72] They inherited their musical talents from their multi-instrumentalist father Kevin who originally came from Rathlin Island off Northern Ireland's coast but ended up in Dublin in the 1940s. The Black Brothers, Shay and Michael, got inspired by the luminaries on Dublin's abundant folk circuit, The Dubliners, The Johnsons, Moore & Irvine, to name just a few. They also incorporated Scottish songs to broaden their repertoire. Things became serious in 1978, their first paid gig in London, followed by three months busking in the US. The rest is history, as they say, Shay and Michael performing regularly ever since - besides 9/5 jobs and raising families in their adopted homes in the San Francisco Bay area. They accompany themselves on guitar and banjo, supported by a who's who of Irish and Scottish music (John Doyle, Mike McGoldrick, John McCusker, Mick McCauley, Rick Epping) who insert their lifeblood and energy. The Black Brothers' singing is captivating, enhanced by varied input from the entire family - Mary, Frances, Martin, Roisin O,[53] Aoife Scott,[71] etc. Their song spectrum is broadly based indeed, including traditional Irish ballads ("Fiach An Mhadra Rua"), broadside and music hall ditties ("Muirsheen Durkin"), sea shanties ("Essequibo River") and contemporary folk songs ("Green Among The Gold"). There are stories that bring tears to the eye, and those that make you grin. What a delight!
© Walkin' T😊M


Christian Sedelmyer "Ravine Palace"
Tasty Note Records, 2020

Artist Video

www.christiansedelmyer.com

Originally from Erie, Pennsylvania, Christian Sedelmyer studied classical violin at the same time playing classic folk rock in a band. A decade ago, he settled in Nashville indulging his passion for folk, old-time, bluegrass, and fiddle traditions from all over the world. As a sought-after session player, Christian has refined the music of Emmylou Harris, Steve Earle, Sam Bush, Darrell Scott, Peter Rowan, Molly Tuttle, Nora Jane Struthers, to name just a few. He played Pickathon, MerleFest, the Grand Ole Opry, and became a member of the Jerry Douglas Band. Christian's debut album is original tunes only but no solo fiddle extravaganza, featuring mandolin (Andrew Marlin), guitar (Eli West - who also plays clawhammer banjo on the Celtic-sounding party piece "Pushin' Through") and double bass (Clint Mullican). It is frisky music exploring a trail from an old-time porch, bypassing a Gypsy campfire, stopping for a pint in an Irish pub, keeping a lookout for fresh ideas on the far horizon. Christian travels along this road with both fervour and dexterity. As a bonus, Jerry Douglas graces "Deacon's Waltz" with his sonorous dobro. The melancholic and reflective piece brings peace to everybody's mind. So does the gorgeous title track that closes the album, "Ravine Palace", altogether a magnificent construction which is solidly built and splendidly furnished.
© Walkin' T😊M


Éilís Kennedy "So Ends This Day"
Own label, 2020

Artist Video

Artist Video

www.eiliskennedymusic.com

Irish vocalist Éilís Kennedy[22] already thrilled German audiences on an Irish Spring tour ten years ago.[39] A rare occasion; she spends most of her time on the Dingle peninsula in the South West of Ireland. Her 2020 recording, "So Ends This Day," is kind of a concept album resulting from her research in 19th century whaling. A fine songwriter, Éilís penned maritime songs about courageous sailors, prudent captains, wives left behind, or hiding on board,... "Franklin's Crew" is a relatively unknown version of the popular broadside ballad "Lord Franklin," giving an account of John Franklin's unfortunate search for the Northwest Passage in the 1840s. "A Sailors Trade" is another traditional song, though this one is refined and replenished with lines from Fairport Convention's "A Sailor's Life." "The Catalpa Rescue 1876" then is another original song, detailling the epic story of six Fenian prisoners escaping with a whaling ship from Fremantle in Western Australia. This getaway had been organized by John Boyle O'Reilly (who himself eluded from the penal colony); quite fittingly Eilís added O'Reilly's mournful poem "Love Was True to Me" set to a lovely traditional air. She also revives a poem written by her father Caoimhín Ó Cinnéide and set to music by the renowned composer Shaun Davey, "Ciúmhas Carrig Aonair", depicting the historical events in relation to Ireland's most southerly point, Fastnet Rock or Carraig Aonair (Lonely Rock), such as the famous sinking of the ocean liner Lusitania in 1915. Éilís is a commited and precise vocalist. Moreover, the stories are not drowned by the sensitive backing group, namely, Gerry O'Beirne on all kinds of strings, Trevor Hutchinson on bass and Eamon McElholm on keyboards; Laura Kerr employs some fiddle, whereas Shaun Davey and Rita Connolly throw in their excellent vocals. For example, on that finely done Row On, Row On... So please get onboard, let yourselve guide across the seas, and even though captain's dinner is cancelled for the time being, you can make contact on a virtual land excursion @ Éilís' BandCamp.
© Walkin' T😊M


Ryan Molloy "pianophony"
Own label, 2019

Ryan Molloy & Fergal Scahill "One Day :: November Woods"
Own label, 2019

Artist Audio

www.ryanmolloy.ie

With expertise in both traditional music and contemporary classic, Ryan Molloy is a lecturer in composition at Maynooth University, Ireland. His original work has won numerous prizes. pianophony though is his solo debut, obviously as a pianist. Ryan revisits the piano as a means of expression in traditional Irish music. It has been a long long way indeed from the rather primitive thumbing as accompaniment to traditional dance music throughout most of the 20th century until the sophisticated fingering from the likes of Seán Ó Riada, Mícheál Ó Súilleabháin or Caoimhín Vallely. Ryan masterly embarks on both haunting slow airs like "The Wounded Huzzar" or "The Mountains Of Pomeroy" and fiery dance sets such as "The Battering Ram / Lucy Farr's Jig" or "The Broken Pledge / Dinny O'Brien's Reel". His technique is beyond questioning, he has a great feeling for the music and a curious mind to sound out any kind of shades and colours. As a bonus, pianophony features the vocal talents of Shauna Mullin on four gorgeous songs, for example the emigration song "Craigie Hill". Much-lauded for her performances both solo and with the David Munnelly Band, Shauna is in possession of a robust but cordial alto which constitutes the icing on the cake.

Artist Audio

www.fergalscahill.ie

One afternoon in East Clare, Ryan Molloy and fiddler Fergal Scahill[48] (of We Banjo 3 fame)[61] recorded a video for Fergal's Tune A Day 2019 ("This Side of Ten Minutes & That Side of Ten Minutes"). The responses were more than positive; viewers were enquiring when they were going to do an entire album. Ryan texted Fergal, "A simple fiddle and piano ditty. One-day thing. What say you?" No sooner said than done. Back in Fergal's living room they recorded 11 sets, some original tunes but most of them going back a long way. Ryan and Fergal kick off proceedings with a graceful and charming hornpipe, "Behind the Bush in Park Anna", though soon gaining momentum and moving into intriguing skirmishes. Ryan's backing sparkles with more than a smattering of jazz and funk. Fergal then is a slick fiddler with a crystal-clear tone. Clearly, they have fun. Only at the end, they move into a more sombre mood, "Táimse 'im Chodladh" ("I'm Sleeping"), however the sentiment is rather spine-chilling than dreary. The words that go with the tune (formally it's in ¾ time but this should not be taken as a straitjacket) shift from elysian poetry to a violent rallying cry; the dormant writer is dreaming of a beautiful woman (=Ireland) reporting the wrong done to her and calling to rise up against the oppressor. Much food for thought in the subtext. But with Ryan and Fegral there is more to it than meets the eye ... or ear ... as just a sequence of notes and sounds.
© Walkin' T😊M


Fiona Ross & Shane O'Mara "Sunwise Turn"
Own label, 2020

Article: The Child Ballads

Artist Video

Artist Video

Artist Video

www.fionaross.com.au

Glad to get this record from Down Under, taking considerable time to arrive, though the other way round postal services are even slower to deliver. Originally Fiona Ross grew up in Partick, Glasgow, where she started singing Scottish songs as a kid. In the 1980s she immersed herself in Edinburgh's vibrant folk circuit, eventually joining the folk group Handsel (featuring fiddler Anna-Wendy Stevenson). A decade ago, Fiona moved to Australia, which didn't stop her to promote Scottish song in her adopted home of Melbourne. She is on the road as a solo unaccompanied singer as well as a duo with acoustic guitarist Shane O'Mara, now submitting their debut album. "Sunwise Turn" is a beautiful selection of their large live repertoire. Many songs will be familiar, ballads from the Child collection ("The Wife of Usher's Well", "The Lowlands of Holland", "Mill o Tifty's Annie"), as well as Jacobite songs from the risings of 1715 and 1745 ("Cam Ye O'er Frae France", "This Is No' My Plaid", "Wae's Me For Prince Charlie"). Lewis Spence's (1874-1755) "Capernaum" is about Edinburgh's rather hideous chapters of history; Burns' "Slave's Lament" depicts the misery in the West Indies. Less bloody is Burns' assurance of friendship, "John Anderson My Jo, John," and today's customary farewell to the old year, "Auld Lang Syne" (albeit with the tune Burns used in his time). I have never encountered John Gray's 19th century "Caller O'u" before, echoing the ballyhoo of Edinburgh's oyster sellers. Last but not least, "Kelvin's Purling Stream" celebrates Scotland as the adopted home of many an Irish emigrant; the River Kelvin runs through Partick in the West End of Glasgow where Fiona grew up and lived until early adulthood. She has a remarkable voice after all, but never let it get in the way and cloud the narrative. The sentiment of each tune is further enhanced by Shane's subtle guitar backing. Not too much, just the gist.
© Walkin' T😊M


Skerryvore "Live across Scotland"
Own label, 2020

Artist Video

www.skerryvore.com

At a time when the last proper live gig is in the distant past and Celtic Connections 2020 feels like an unreal dream, along comes this album that takes the listener back to the dance floor of gigs of the mighty live act of Skerryvore. As one of the grand Scottish Trad Rock acts, Skerryvore masterfully combines original rock songs with earthy Scottish trad music. Their line-up features up to two highland bagpipes, accordion and fiddle as well as electric guitars, keyboards, bass and drums. The music is well and truly Scottish, with trad, pop, rock and country influences.
The album marks the 15th anniversary of the band, and it is their first full live album. The recording perfectly brings across the energy, electricity and joy of the live performances yet does not compromise on sound quality or focus on the top music of the eight piece band. The release of the album should have been followed by an autumn 2021 UK tour which of course had to be cancelled - but the album gives listeners the opportunity to relive the live experience.
At a time when live venues are having to temporarily close and serious struggle, this album is also a celebration of all those wonderful and important live venues across Scotland (and the UK) - the tracks were recorded in 12 different music venues across Scotland during the band’s 2019/20 winter tour, from cosy to larger clubs, from Glasgow’s Royal Concert Hall to Killin’s village hall. A timely reminder of all those venues out there that are, just as much as musicians themselves, struggling to survive in the COVID times. A wonderful tribute to the live music and live venues we all so dearly miss at the moment.
© Michael Moll


Hamish Napier "The Woods"
Own label, 2020

Artist Video

www.hamishnapier.com

After Hamish Napier’s celebrated topical albums „The River“[61] and „The Railway“,[68] we could be certain that the third album of this gifted musician and composer would again be themed and inspired by a topic. Commissioned by Cairngorm Connect, „The Woods“ is dedicated to Scotland’s native wild forests, and sets out to musically explore its flora, fauna, folklore and legends in new compositions. Traditionally children in Scotland were taught the 18 letters of the Gaelic alphabet through the old names of Scotland’s native trees - thus Hamish set off to write a tune for each letter and tree.
The music is deeply rooted in traditional Scottish dance tunes yet has contemporary arrangements, ranging from slow laments to upbeat and cheerful polkas - with every mood in between.  While focussed around Hamish’s whistles, flutes and piano, as usual, a stellar cast of fellow musicians is joining him, including fiddler Innes Watson, uilleann piper Jarlath Henderson, Ross Ainslie on Scottish pipes, cellist Su-a Lee and guitarist Steve Byrnes. Whilst the album is nearly all instrumental, the last music track is a Gaelic lament beautifully sung by Calum MacCrimmon. The final track is completely different - two and a half minutes of the sound of male capercaillies’ displaying for their females “Let” during the Breeding season.   
Which reminds me of another key actor of the album: given that the star of the show are the woods, the sounds of the forest are consequently underlying the music at times - with birdsong, forest winds, axes or ice clinking. This is an intriguing album of tunes that invites the imagination to paint the woods in the listeners mind. The stunning drawings on the cover and the comprehensive sleeve notes help the imagination along.
© Michael Moll


Piccard & Masure "Webbesnaren 2.0"
Appel Rekords, 2020

I can’t believe that it is already 20 years since Belgian ace folk musicians Guido Piccard and Philip Masure recorded their delightful and memorable debut “Webbesnaren” - and it took them from 2000 until now to record a follow on album. But now “Webbesnaren 2.0” is here. The material is nearly all original compositions, in a Flemish folk music style. The duo play a whole lorry-load of instruments, and they play each very well too - dulcimers, cisters , guitars, mandolin, ukulele, darbuka and bodhran. Whilst the majority of tracks are instrumental, two new songs are featured, presented by the gentle voice of Soetkin Collier. We might have had to wait 20 years, but the wait was well worth it!
© Michael Moll


Navarra "I ljusningen"
Kakafon Records, 2019

www.navarra.me

Navarra’s contemporary and fresh approach takes Swedish folk music to a new level. While all songs on their new album are original, a number of them sound as if they could be traditional, with the melancholy and feeling of space that is so typical for Swedish folk song. Yet the musical accompaniment of these trad style songs is highly innovative - featuring as backdrop a groovy jazzy piano, a fiery and improvising violin, and percussion/drums. The music is focussed on the clear and warm voice of singer and main composer of the band, Sofia Kunze, in many songs very much in a trad Swedish style. However, some of the songs push the boundaries of Swedish folk, both in terms of sound and topic - be it about an annoying telephone salesman or a sister from Somalia. “I ljusningen” is the third album of Navarra, and I am glad that with this album I have finally discovered this innovative band.
© Michael Moll


Joy & Andrew "Dithis - Duo"
Own label, 2020

www.joyandandrew.co.uk

This is debut of Scottish siblings Joy and Andrew Dunlop, hailing from Argyll. To Scottish audiences, Joy will probably be more widely associated with weather than traditional song, given her “day job” as weather presenter on BBC Scotland and BBC Alba, although she is also an acclaimed Gaelic singer. Andrew meanwhile has more of a classical background, and is currently, amongst other roles, Orchestral Pianist for Northern Ballet.
The album brings together the beautiful enchanting singing of Joy and Andrew’s piano, with simple classically influenced piano arrangements of Scottish trad and folk songs pushing trad music boundaries. The album features six mostly traditional Gaelic songs, which clearly is Joy’s passion and strength. The four songs in English language are more contemporary and include a great jazzy version of Twelfth Nights’ “The light gatherer”. The last song on the album then combine English and Gaelic singing: The original Scots version of Robert Burns’ “Ae Fond Kiss” is followed by some verses translated into Gaelic.
© Michael Moll


Helene Blum & Harald Haugaard Band "Strømmen"
Galileo, 2020

www.blumhaugaard.dk

This band combines two heavyweights of the Danish folk scene: Wonderful singer Helene Blum, with her crystal clear angelic voice, and the extremely gifted fiddler and composer Harald Haugaard. Each of them is in their own right a top act on the Danish folk scene, so this collaboration is extra special. Whilst playing together in this band set up for more than 10 years, this is the debut album of the band. In addition to the duo, their band also features guitar (Mikkel Grue), percussion (Sune Rahbek), Helene‘s piano playing, and an earthy cello (Kristine Elise Pedersen). The album features eight songs - original, traditional and taken from poetry - and four tunes written by Harald. While Danish folk music is always the core of the music, other music styles gently intermingle - classical, pop, perhaps a bit of jazz. Both music and songs feel poetic and lyrical, taking the listener to Danish summers, beaches and fjords, trepidation and patience as well as hope and dance. A well-rounded beautiful album, perfect all round.
© Michael Moll


Amsterdam Klezmer Band "Fortuna"
Vetnasj Records, 2020

Artist Video

www.amsterdamklezmerband.com

This album celebrates the 25th anniversary of this spectacular and lively band. The scope of Amsterdam Klezmer Band certainly does not stop at Klezmer - yes there is a fair dose of Klezmer in the music but there’s much more to it. Lots of Balkan influences and lots and lots of groovy brass music ensure that the party gets going as soon as the band hits the stage - or indeed you hit the “play” button on your music player. Many of the songs have a cool rap theme which blends perfectly with the Balkan brass - with Yiddish, Dutch and English lyrics.
With this album, the band decided for the first time to invite, with Stefan Schmid, a producer to help shape the album’s sound, which gives new dimensions to this very rhythmic album. This is ever so cool danceable music, so let the party with the Amsterdam KlezmerBand start and let’s hope it’ll continue for another 25 years.
© Michael Moll


Colum Sands "Song Bridge"
Spring Records, 2020

Artist Video

www.columsands.com

As they say, old friends are the best friends, so it’s a delight to listen to this album of one of my long-time folk friend Colum Sands, taking me back to many great nights with the Sands Family.
“Song Bridge” has all the ingredients that make Colum Sands’ music so special - it’s full of warmth, personality, and lyrics that may have a serious message yet often also have a twinkle in the eye. As usual, Colum’s songs tell stories. A number of songs on this album were inspired by Colum’s campaigning to protect an oak wood in his home town. Several guests can be heard on the album - including Mary Dillon (vocals), Nuala Curran (cello), Karen Tweed (accordion) and of course Colum’s siblings Ben, Tommy and Anne.
The album brings ever so well Colum’s personable and genuine warmth across, giving the listener a proper slice of the live experience - much needed at a time when due to COVID-19 there are hardly any live concerts. And when the album finishes with the catchy “One more for the road” I am longing for the real thing.
© Michael Moll


Andrew Cronshaw "Zithers"
Cloud Valley Music, 2020

www.andrewcronshaw.com

The title of this album says it all - British multi-instrumentalist Andrew Cronshaw plays on his new album solely the zither. The majority of tracks are played on an old German 74 string fretless zither, whilst three are on a Finnish “marovantele”, with 11 pairs of strings on each side. Both have a hauntingly beautiful sound. All the sounds of the album are from one or the other of these instruments, nothing else. The tunes are primarily from Scottish traditions, with a few own compositions and a few Finnish tunes. Relaxing and meditative.
© Michael Moll


La Bricole "Jour de Malheur"
AEPEM, 2020

Artist Video

www.la-Bricole.net

This northern French trio displays in their songs a love for harmony singing and for traditional songs with a marine topic. They present their songs in joyful and inventive musical arrangements, featuring mandolin, a swinging accordion or clarinet, and a bouzouki. The three men from Boulogne have produced a wonderfully entertaining and accessible album of 14 French songs that captivate and bring happiness to any audience. I love it.
© Michael Moll


Rakoczy "Frontrunner"
Own label, 2020

www.rakoczymusic.co.uk

The name of this young Anglo-Hungarian musician may suggest otherwise, yet 23 year old Rakoczy plays English folk rock - and brilliant she is too. On her debut album she directly has gone for an impressive collection of themed songs, exploring the horse in traditional music and British folklore.  Rakoczy is a strong expressive singer, but she also plays recorders, bagpipes and concertina, and is clearly a clever and creative arranger of music. Several tracks on her debut really stand out for their distinctive and excellent arrangements, combining vocals to a backdrop of bagpipes, recorder and guest contributions on hurdy gurdy, guitar and drums. There is a distinct - but perhaps more sophisticated then some of the “real” thing - flair of continental medieval folk rock, put into a very British folk context. Other tracks may be not quite as distinctive, but they are still very solid folk rock. Overall, I have been impressed by this young singer and folk musician, and will be looking forward to hear much more from her as she no doubt will make herself swiftly well-known on the British folk scene.
© Michael Moll


Woodlands "Woodlands"
Own label, 2020

www.woodlandsduo.com

A wonderful album of primarily Scottish music played by this harp/fiddle duo. With a background in Swedish folk and classical music respectively, the Swedish fiddler Kristina Leesik and harpist Justyna Krzyzanowska met during their studies at the Royal College of Music in Stockholm. They later deepened their knowledge of and love for Scottish folk traditions when both were studying at the famed Royal Conservatoire of Scotland. On their debut album, the duo presents Scottish and Irish folk music in new arrangements for harp and violin, with a beautiful flow, at times groovy with jazz influences, and with hints of their Scandinavian and classical backgrounds. The young ladies have also beautiful voices, showcased in a stunning folk-jazzy version of the traditional song “The old man from over the sea” and, in “Emigrantvisa”, a Swedish version of a traditional Gaelic song.
Atmospheric, reflective, calming and exciting - the music of this duo is just delightful.
© Michael Moll


Ils Fränzlis "Mit alles und scharf"
Zygtglogge, 2020

Artist Video

www.fraenzlis.ch

Plenty of quality Swiss oompah music, combined with brassy jazz, folk / Volksmusik and some choir and yodel arrangements - that’s what is included when this Swiss band orders their music “with everything and hot” (the title of the album - a phrase commonly used in the German countries when ordering your take away). 
Ils Fränzlis are five members of the Janett family - featuring cello, clarinet, viola, violin, double bass and accordion. On this album they have invited for several tracks three guest musicians, on sax, trumpet and cello/double bass, so that when they are playing “with everything”, Ils Fränzlis turns into a big band. There are plenty of Appenzeller waltzes and marshes - traditional and new oompah music - played with joy, energy and a dose of jazz and Balkan, and at times the band turns, somewhat unexpectedly, into a high quality choir too. The band won last year the Swiss Music Award, and judging from this album, this seems to be well deserved.
© Michael Moll


Garefowl "Cliffs"
Own label, 2020

www.garefowl.com

An album dedicated to St Kilda, the remote and now inhabited island far off the Scottish mainland. This project marks two anniversaries - 180 years since the last garefowl or great auk – the now extinct bird which was hunted for its soft down - in the UK was killed on St Kilda in 1840, and 90 years since the community was finally evacuated from the island in 1930. Musician and composer Ewan Macdonald and his father Murdo, relatives of one of the men who killed the great auk two centuries ago, conceived the project to reflect on and mark this family history.  It is an atmospheric album of newly arranged traditional songs and tunes, played by an international cast of Celtic folk musicians. For my liking the music is too dominated by the underlying Synth played by producer Richard OFlynn. This acts as backdrop to viola and harmonium (Ewan MacDonald), viola da gamba (an instrument similar to a cello) (Nathan Bontrager), mandolin, banjo, concertina (Chris Jones), bouzouki (Stuart Graham) and jaw harp (Spiff Wiegand).
The album was recorded remotely in different parts of the world during the 2020 lockdown, and it is perhaps as a result of this remote lone recording that the album lacks the spontaneity and spirit of music played together in one place.
© Michael Moll


Damir Imamovic "The Singer of Tales"
Wrasse Records, 2020

Artist Video

www.damirimamovic.com

Damir Imamovic is seen as one of the masters of Sevdah songs - the music of Bosnia and Herzegovina, a singing style routed in the same Arabic background as the much more famous Portuguese Saudade, expressing the feeling of nostalgia and longing for an absent something. The traditional ballads from the Balkans presented on this album are generally slow and somber and feel emotionally charged. Demor Imamamovic, with his tenor voice, is joined by the Turkish kemenche master Derya Türkan, violinist Ivana Duroc and Bassist Greg Cohen.
© Michael Moll


Svjata Vatra "Svit, Ty Minjaeschsja"
Nordic Notes, 2020

Artist Video

www.svjatavatra.com

The Ukrainian-Estonian band Svjata Vatra combines Ukrainian and Estonian traditional music with heady folk /rock / punk arrangements. I personally cannot get into some of the vocals, although I really enjoy the musical arrangements. Particularly the trombone provides very effective and atmospheric nuances to the music, alongside the traditional instruments of Estonian bagpipes and jews harps and the rock section of drums, bass and guitars. English listeners will listen up when hearing the familiar sound of “Shchedryk“ - this traditional Ukrainian Christmas song is a Christmas staple UK in its English version, “Carol of bells”. The album celebrates the 15th anniversary of the band, and should open their music up to new audiences. 
© Michael Moll



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