FolkWorld #75 07/2021

CD Reviews

Tara Breen, Pádraig Rynne & with Jim Murray & Dónal Lunny "NASC"
Own label, 2021

Artist Audio

www.padraigrynne.com

"NASC" is Gaelic for connection or relationship, and indeed fiddler Tara Breen (The Chieftains, Stocktons Wing) and concertina player Pádraig Rynne (Notify, Guidewires, Atlantic Arc)[40][53][75] have been regularly performing together as a duo since more than a decade. For their debut recording, thanks to the decrease of touring, they invited Dónal Lunny on Bouzouki (Planxty, the Bothy Band, Moving Hearts fame) and Jim Murray (The Sharon Shannon Band) on guitar and locked themselves up in Miltown Malbay in their native Co. Clare to lay down nine sets of traditional Irish music with a bit of Scotland, Britanny and Asturias on the side. Pádraig has composed five gorgeous tunes. Clare harpist Elaine Hogan joined the quartet on a special track. The selection of tunes and pairing together are resourceful, to put it mildly. Tara and Pádraig are a tight-knit outfit of virtuoso musicians that kindle the fire, while Dónal and Jim are the flame retardant to bring everything safely home. "NASC" is a digital only release on Bandcamp; there is some fine artwork though by Ken Coleman of the duo's interwoven instruments to become one. There are plans in the pipeline, Corona permitting, for a 2022 tour on the European mainland.
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The Fire "Marigold"
Own label, 2021

Artist Audio

Artist Video

www.thefirescottishband.com

The Fire are a trio from sunny, sometimes actually blazing California featuring fiddler Rebecca Lomnicky, bagpiper David Brewer (of Molly's Revenge fame)[38] and guitar-bouzouki player Adam Hendey. Their altogether third album is an instrumental-only 11-track selection of traditional Scottish tunes and original compositions by all three band members. On one side of the speed range is the intricate slow air "Mrs. Jamieson's Favourite" from the pen of the William Marshall pupil Charles Grant of Aberlour (1807-1892). A fine set of strathspeys includes a couple of melodies used by Robert Burns for his songs. Off the beaten track but already presented in the beginning is Adam Hendey's intricate 7/8 tune, try to dance to it without stumbling. On the other hand there are vibrant reels galore. Scottish music with a peculiar US-Mexican flavor of its own. David Brewer's eight-minute "Scotch Paisano Suite," consisting of altogether eleven bagpipe tunes, celebrates in epic style the inception of California. The Scottish emigrant Hugo Reid (1811-1852), nicknamed the Scotch Paisano when settling down in Los Angeles County, then part of the Mexican state, married an Indian girl and attended the Constitutional Convention of California in 1849. The musical interaction between fiddle and pipes is striking, all the while the string backing embraces both pulsative strumming and empathic flatpicking.
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Mick O'Brien, Emer Mayock, Aoife Ní Bhriain "More Tunes from the Goodman Manuscripts"
Own label, 2021

Article: More Tunes from the Goodman Manuscripts

bandcamp.com/...

In the mid 19th century, Irish canon James Goodman (1828−1896) followed his desire to preserve the native music. Himself being an avid uilleann piper, he collected about 2,300 tunes, many of which dating back from before famine times, Ireland's historical caesura. The mansucripts were held in Dublin's Trinity College and only published by the Irish Traditional Music Archive in two volumes in 1998 and 2013, respectively. Mick O'Brien, Emer Mayock and Aoife Ní Bhriain first browsed through the Goodman manuscripts in 2012, subsequently recording a fine selection and earning a TG4 Gradam Ceoil Award for it. Now they did it again; and this time not only as a showcase for their instrumental skills on pipes, flute, fiddle and concertina, but giving breathing space for sophisticated arrangements - drones, layers, rhythms. This is not the sound of the pre-famine era, but the sound they like and that works best for them. There are the usual suspects of spirited jigs and reels, including a mighty pipes duet, "The Wash-Woman / The Aberdeen Reel / The Merry Time of Easter." "Pádruig, Píobaire" (Patrick the Piper), followed by an unusual quadrille, is a graceful slow jig and a whistle duet. At last there is a striking slow air "Ceann Dubh Dileas" (My Dark-Haired Darling). Apparently the tune has never been recorded before, neither have some others.
This threesome of musicians is smart and well-versed. Mick O’Brien (uilleann pipes, flute, whistle) recorded the classic 2003 album "Kitty Lie Over" with fiddler Caoimhín Ó Raghallaigh.[27] Emer Mayock (flute, whistle, pipes) has been a member of Afro Celt Sound System since their 2001 album "Further In Time,"[10] and only recently supported Rhiannon Giddens and Francesco Turrisi on their pandemic album "They’re Calling Me Home."[75] Aoife Ní Bhriain (fiddle, viola, concertina) has played with several Irich dance shows, including "Riverdance," she recorded with such diverse acts as Scottish singer Julie Fowlis[67] and Italian folk group Birkin Tree.[69]
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Charlie Piggott & Rowan Piggott "The Trip We Took Over the Mountain"
Scribe Records, 2020

Artist Audio

www.charliepiggott.net
www.rowanpiggott.com

Rowan Piggott is a fiddle player originally from the Irish west coast, though these days he is based in Sheffield. He released a critically acclaimed solo album, "Mountscribe," and recently joined singer Rosie Hodgson and guitarist-flautist Philippe Barnes in the promising folk trio The Wilderness Yet.[73] His father Charlie,[67] of course, is one of the founding members of the legendary Irish music group De Dannan. He played banjo then, but after having an accident that impaired his index finger he switched to the melodeon for starters and eventually to the C#/D button accordion. Rumours have it that Charlie Piggott is authoring a biography about the legendary accordion player Joe Cooley. He found time though to record a solo album, "The Days That Are Gone,"[71] and a duo album with fiddler Gerry Harrington, "The New Road."[14] "The Trip We Took Over the Mountain" is a showcase for father and son's mutual understanding. Delivered without any hustle and bustle it is a relaxation exercise to consume the pure drop. Most of its instrumental sets were put together during a couple of concerts in County Clare that led them from piper Willie Clancy's stomping ground in Miltown Malbay to Rowan's childhood place in Kinvara. Fittingly, their subsequent recording effort was named after a tune associated with Willie Clancy that, above all, is known under a felicitous title. This waltz closes the album. It also features an ingenious rendition of Junior Crehan's "The Mist Covered Mountain" turning the well-known jig into a waltz or march. Contrariwise, they transform an ancient Gaelic melody into a lively jig in honour of the late great Paddy Fahey. Overall, there is a fine selection of jigs, reels, hornpipes, polkas, and even flings and slides.
Rowan even sings. He has a distinct and pleasing tenor, underpinned by accordion and fiddle, of course, as well as cittern, shruti box and foot percussion. Two songs are taken from Ireland's Gaelic tradition, though translated into English. "Seán Ó Duibhir A Ghleanna" (Sean O'Dwyer of the Glen) is a ballad about a guerrilla fighter during the 1690's Williamite Wars; and the destruction of the forests by fire becomes in Rowan's translation, quite up to date, a lament for environmental damage. "Molly na gCuagh Ní Chuilleanáin" (Curly Molly Cullinane) is more light-hearted musically though soulful again, a love song put to music by the late Eithne Ní Uallacháin. Last but not least, Rowan reaches across to Scotland, the jaunty "Rattlin' Roarin' Willie" is an adaptation of a traditional ballad by Robert Burns and probably introduced to Ireland by the likes of Luke Kelly and Johnny Moynihan. Happy ending of an altogether splendid selection and excellent execution of traditional music.
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Contemporary Fiddle Tunes from the Northeast of Ireland
www.rowanleslie.co.uk

Rowan Leslie "Escaping the Dawn"
Mountain Ash Records, 2020

Artist Audio

A native of County Antrim in Northern Ireland, Rowan Leslie started playing traditional Irish music on the fiddle at the tender age of seven with Johnny Murphy of Ballymena, himself a pupil of the legendary Sean McGuire. Rowan eventually went on to study at Newcastle University and is based in Glasgow these days fronting a kind of céilí band. He is said having composed his first original tune at the age of thirteen, and he never looked back. Thus, "Escaping the Dawn" is his album all of his own and aptly undertitled "Contemporary Fiddle Tunes from the Northeast of Ireland". A rousing set of reels ("The Siren / Mama Brown's / Code Orange") kicks off a magnetic event. Rowan Leslie's music has panache on a grand scale. He is deeply rooted in the musical tradition of the North East, which shares many traits with Scotland across the sea, but has developed a separate and specific identity - from Scotland as well as from the rest of Ireland. "Papa's Jigs" are a fine example of the swing and groove of the 6/8 metre. The title track musically recalls an early morning drive and proves Rowan's capacity of writing memorable melodies. Sometimes telling titles too: "A Whisper of Rosin" is a description of the rosined fiddle bow dispensing a wee bit of dust when gently touching the strings. By the way, this is a sweet tune in waltz time. And not everything is strictly the pure drop, for example, "Natasha's Anthem" sonically provides a more jazzy and funky framework. Rowan Leslie is a fiddle player with a knowing hand, and his backing band is top-notch: Andrew Waite (of Dallahan and Fourth Moon fame) on accordion, Graeme Armstrong (Talisk) on guitar, and David Foley (Rura) on the bodhrán.
P.S.: Rowan has not only been composing tunes by the score but accumulated plenty of recent compositions by musicians from Antrim and adjacent County Derry. His arrangements for the fiddle is available from Mel Bay (www.melbay.com).
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Andrew Marlin "Fable & Fire"
Own label, 2021

Artist Audio

www.andrewmarlin.com

There once was a band from North Carolina called Mandolin Orange,[61] featuring the likes of Emily Frantz and Andrew Marlin. For reasons beyond our interest, they recently renamed themselves Watchhouse and kept going. Besides, Andrew Marlin is out on his own. "Fable & Fire" is an exceptional album of instrumental music. Andrew concentrates on the mandolin, supported by Christian Sedelmyer (fiddle),[73] Jordan Tice (guitar, bouzouki),[73] Josh Oliver (acoustic guitar, banjo, piano), Clint Mullican (bass guitar) and Nat Smith (cello). This outfit creates a perfect soundscape, just like a band that honed their music for years and years. At least, it makes me believe so. Andrew has written fifteen beautiful tunes, refined but also vivid and vital. He goes through the entire range of sentiments, drawing expertly on all strands of American music with fitting in the Celtic and the African for a contemporary roots fusion.

watchhouseband.com

Ok, Mandolin Orange is now called Watchhouse. Andrews says, "This past year has been the first time we’ve stayed still since we were 21, and the pause gave us the opportunity to sit with ourselves and set intentions. We have long been burdened by the dichotomy between our band name and the music we strive to create—if you’ve heard the songs, you know they are personal. Now that we can see a future where music is a shared experience again, we're defining the space we share with you on a stage or in your headphones, and making it one that welcomes our creativity and anyone who wants to listen." Check out some videos: "Better Way", "New Star", "Upside Down"! Their self-titled album "Watchhouse" is scheduled for August 2021!
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Ron Jappy "Vincular"
Bow Fiddle Records, 2020

Artist Video

www.ronjappy.com

Ron Jappy made his way from rural Moray in the North East of Scotland to graduate at Glasgow's Royal Scottish Academy of Music and Drama ten years ago. He originally played traditional music on the fiddle, but had his Damascus moment when watching guitarist Innes Watson magically supporting piper Ross Ainsle. The rest is history. Over time, Ron has become a sought-after accompanist with both a deep knowledge of traditional music and the awareness of the significant role of the much-maligned back-up. “Being an accompanist is amazing, it truly is,” he says. “I feel so lucky to be able to play with such a diverse range of talented musicians and seeing how this influences, shapes and inspires me as a player. I love accompanying music and I love working with others, it’s something I’m really passionate about. The role of an accompanist is crucial to the success of any performance; I have to support and enhance the performer and help deliver what they are trying to convey. It is often an exciting and creative process that demands an assured and versatile approach, never overpowering and never detracting from the main message.” Let's name-drop a wee bit: Iona Fyfe, Claire Hastings, Hannah Rarity, Skerryvore, Jamie Smith, ...

Two years ago, he recorded a fine album with Celtic harp player Rachel Hair, "Sparks".[70] Ron's debut album "Vincular" is an album from this unorthodox point of view; the Latin vinculum meaning bond or chain, and certainly not in the negative sense of the word but the conjunction between the individual participants. Ok, this has been done before by guitarists and bodhrán players and ... but every attempt has its own merits, this here a showcase for Ron's prowess as well as a selection of his favourite musicians he worked with. Let's name-drop again: bagpiper Scott Wood and fiddler Mhairi Mackinnon of Scott's band,[59] accordionist Grant McFarlane,[54] double bassist James Lindsay (of Breabach fame). Innes Watson[69] is playing the viola and Joy Dunlop[50] stepdancing; on the whole 14 artists are involved in this Celtic big band. The album's opener is an attempt to update the jig format, kick-off for an hour or so meant for dancing and boogieing. The strathspeys earmark the music's Scottish point of origin, but it's never one for the narrow-minded; Euan Malloch playing an electric guitar solo on the "Tactical Penguin" pipe reels finally takes things into Celtic rock territory. Ron offers the deserved breaks from the hustle and bustle: "A Day to Remember" is a disarming waltz with Ron taking up the fiddle; "Shalom" is a haunting slow air featuring a string arrangement of his own making. Yep, Ron is a jack of all trades. One thing excluded: he doesn't sing! Ainsley Hamill (Fourth Moon) had to deliver the Gaelic "Mairead Nan Cuiread" (Wily Margaret), which starts sluggishly and drearily to end up in a mighty blast.

Artist Video

The "Vincular" album closes with the song "A Place Called Home", released as live single having been recorded as part of the online album launch. It is a co-write of Ron and Ainsley about relocating from the countryside into the big city with its emotional arousal and subsequent homesickness. Featuring backing vocalist Lissa Robertson of folktronica group Yoko Pwno, electric guitarist Fraser Jackson of instrumental crossover collective Fat-Suit, drummer Mark Scobbie of folk rockers Mànran, it is the most mainstream track out of ten and quite bluntly aiming for the charts. Says Ron, “This single has more pop elements on it than my previous work and it’s been exciting for me to continue to test my versatility as a musician, exploring a genre that is quite unknown to me. Vincular was all about celebrating the role of the accompanist and this single is an extension of that – allowing Ainsley’s musicianship and unforgettable voice to take the spotlight, whilst exploring new ideas to take inspiration from and best showcase that within the song.”
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Aggie Whyte "East Galway Fiddle Music" [2 Discs]
Michael Harrison, 2020

www.aggiewhyte.bandcamp.com

The parish of Ballinakill in East Galway in the west of Ireland once boasted of having a fiddle, or any other popular musical instrument, in every house. Traditional Irish music, that is the unique East Galway variant, is still a living thing in the area, brought from the 20th into the 21st century without making any concessions to the zeitgeist. Aggie Whyte of Cappacon (1920-1979) played her fiddle alongside the likes of some renowned and many lesser-known musicians in a house open to everybody. Her father, Tommy Whyte, was a founding-member of the famous Ballinakill Céilí Band, and Aggie herself became a member in 1938. She also played with the Leitrim and Tulla Céilí Bands, was sought out by song collectors Alan Lomax and Séamus Ennis, and eventually recorded for Irish radio. There is a popular session tune sometimes referred to as "Aggie Whyte's Reel". Aggie's grandson Michael, who won the All-Ireland senior fiddle award in 2005 and thus 51 years after Aggie did so in 1954 (moreover, she also won honours in duets with Joe Burke and Peadar Ó Lochlainn and several céilí bands), unearthed some old reel-to-reel tapes of Aggie playing. Captivated by her accuracy & drive, he sought out recordings throughout Ireland (e.g. RTÉ Archives) and overseas (Allan Lomax Collection, Library of Congress). He had them digitised, restored and remastered to present this fine double CD collection with altogether 51 tracks, including solos, duets and some céilí band offerings. Some name-dropping besides them already mentioned: Paddy Carty, Séamus Connolly, Elizabeth Crotty, Paddy Fahey, P.J. Kelly, Micho Russell,... That means fiddle, flute, uilleann pipes, concertina, accordion, piano, and even spoons. The performances are enchanting, displaying a traditional Irish musician of great subtlety on both widely spread and rather local dance tunes ("Lough Derg Jig" also known as "Father Kelly's", "Derrycrag Reel", "The Sliabh Aughty March", "The Cappacon Chase"). "Aggie Whyte's Reel" has not been omitted, neither a really gorgeous rendition of the ancient slow air "Sé Fáth mo Bhuartha" (I heard Willie Clancy piping it, and it wasn't as soulful as Aggie's).[41] There do exist words to the melody and I wonder if it had also been sung. The CDs give evidence for vocal performances: Aggie's husband Séamus Ryan is singing "Iníon an Phailitínigh" (i.e. The Palatine's Daughter, referring to the German emigrants from the Middle Rhine area in the early 18th century) and the popular ditty "Wild Mountain Thyme" together with their twin daughters Kathleen and Maureen. Altogether "East Galway Fiddle Music" is a must-have album if you are into traditional Irish music. It is a showcase of both Aggie Whyte's individual art as well as the music and musicians of East Galway. The album's booklet is rich in content, and proceeds from the sales will go to the Croi charity (www.croi.ie) who is dedicated to heart issues that affected Aggie herself and who passed away because of it.
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John Keehan "The Humours of Scariff"
Own label, 2020

Artist Audio

www.johnkeehanmusic.com

I remember the village of Gort in the Irish County Galway for attending the Cooley Collins Traditional Festival (that's the legendary accordionist Joe Cooley) a quarter century ago. This festival on the bank holiday weekend in October, apparently still in operation, sees John Keehan playing in Johnny Kelly's pub on Sunday night. John grew up about four miles outside of Gort; his parents were devoted set dancers and banjo player Dessie Mulkere lived close by. In 1973, Joe Cooley returned from the USA and John was taken to Luke Kelly's Bar in Gort to hear him play once more. John himself took up the fiddle though, and, the 1970s being such a wonderful time for traditional Irish music, he got to hear many brilliant performers in places such as the Clare Folk Club in Crusheen. For the past two decades he is based in Scariff in East Clare, which also explains the title of his debut album. "The Humours of Scariff," starting off the final set, is a fine reel in D Dorian (i.e. a scale based on the keynote D but without the accidentals) which has been played by local fiddle maestro Martin Hayes as well as the Bothy Band. John didn't make haste to record an album, and that's his spirit to treat the jigs and reels: Eleven sets of dance music with enough room to put in ornamentation and variation. His original compositions resume the traditional form (the vibrant "Eimear's Hornpipe", the cheerful "Blue Chicken Jig", and the almost epic "Lament for Barry"). "Scariff" is a pleasure ground receiving visitors such as Derek Hickey of De Danann and Arcady fame (accordion) as well as young Willie Kilkenny (flute) and Ciara O'Sullivan (harp). The latter also showcases a lovely version of "I Live Not Where I Love," which is an old folk song of English origin and possibly introduced to Ireland by Mary Black. John's sister Mary provides the other vocal track, a gorgeous rendition of the sean-nós ballad "An Droimeann Donn Dílis." The song's story is about a poverty-stricken farmer who must part with his priceless cattle. The words can be read as an allegory for losing home and country. Times long gone by; in the hands of folks like John Keehan the country's music is safe for now. His music though is just like that ancient Gaelic song: haunting, arresting and of ravishing beauty.
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Fintan Vallely "Merrijig Creek: New Tunes and Arrangements"
Whinstone, 2020

Various Artists "Compánach: Music from All the Counties of Ireland"
Whinstone, 2021

"Turas – Éire Fhíorúil sa Cheoil / Virtual Ireland in Music" [DVD]
Whinstone, 2021

Article: Old & New Tunes & Arrangements

Artist Audio

Turas – Éire Fhíorúil sa Cheoil
www.imusic.ie

Fintan is an offspring of the musical Vallely dynasty from the Northern Irish county Armagh. He started playing traditional music on the wooden concert flute in 1967, being 14 years of age. Since then he recorded half a dozen albums, published more than a dozen books, wrote umpteenth essays and reviews. His 1986 flute tutor was the first outline to learn the instrument, but he is probably best known for editing the must-have reference book, "The Companion to Irish Traditional Music."[47] Fintan's latest album, "Merrijig Creek," is a labour of love marking 57 year of playing traditional Irish music. He draws you into his "private world, a very personal world and it was full of magic," to take a quotation out of context. Here are 29 favourite reels, jigs, airs and others - partly old and new tunes from familiar composers ranging from Carolan to Fintan's cousin Niall,[56] partly collected from his worldwide travelling and session playing, but more than half of it original compositions made up sometime between 1977 and 2017. Strong and captivating tunes indeed. The tune titles point to people, places and incidents Fintan came across in these 40 years. The title tune, for example, is a reconstruction in jig time of the traditional song air "Bold Doherty," named after a dry creek near Melbourne where it became alive. "Syrian Sky / Trip to Damascus / Farewell to Lebanon" is an ambitious set of tunes (an oriental-type slow air leading into two very Irish reels), paying homage to Belfast man Brian Keenan, who spent four years in utter darkness after his kidnapping in Beirut and later wrote a novel about the blind harper Turlough O'Carolan. The set list includes another Carolan tune ("Captain O'Kane"), two pieces composed by East Galway fiddler Lucy Farr, and "Per i Morti di Reggio Emilia" (For the Dead of Reggio Emilia), originally a protest song written in 1960 by Italian folk singer-songwriter Fausto Amodei. As a performer, Fintan is capable of a both fluent and pulsative tone. It is a pleasure to listen to, even more so by looking for support from terrific musicians he played with over the years: sister Sheena (flute), cousin Caoimhín (piano),[63] Liz Doherty (Nomos, The Bumblebees, String Sisters) and Gerry O'Connor (Skylark, Lá Lugh) on fiddles, Dáithí Sproule (Skara Brae, Altan) on guitar, Brian Morrissey on bodhrán and bones. Cousin Niall sat on the producer's chair. All in all, a collection of miscellaneous sounds and strains - as colourful as the man behind the flute.
P.S.: As I said, Fintan had been the editor of "The Companion to Irish Traditional Music" (2nd edition released ten years ago). Based on the book, he had developed an audiovisual show, and eventually put it on CD ("Compánach") and DVD ("Turas") because of the impossibility to stage it live anymore in pandemic times. Altogether 840 images of musicians, performances and Irish scenery (many taken by photographer Jacques Piraprez Nutan who had worked with Fintan on the 1998 book "Blooming Meadows") are linked with a sequence of traditional music, one tune/song for each Irish county (and some Diaspora regions), respectively. The tunes are performed by Fintan (flute), Gerry O'Connor (fiddle) and Tiarnán Ó Duinnchinn (pipes), with Seamus O'Kane banging away on a 19th-century-type tambourine. Sibéal Davitt adds another percussive element with her vibrant step dancing. Máire Ní Choilm and Róisín Chambers sing Gaelic sean-nós ballads, Karan Casey and Róisín White English-language folk songs. It is a tour worth watching - and that is exactly what the Irish expression turas means.
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Brad Reid "NEW Scotland"
Own Label, 2020

Artist Audio

Artist Video

www.bradreid.ca

Nova Scotia based Brad Reid did play saxophone, clarinet and guitar with Cirque De Soleil in their 2019 first-ever show on ice, Crystal. But his real passion lies with the traditional fiddle music of his native Cape Breton, i.e. the particular style that Scottish emigrants brought to the Canadian shores. As a kid his fiddle-playing grandfather introduced Brad to the Nova Scotian music festivals and the pure drop of the Scottish tradition. He says, "I can tell you exactly when I decided that I had to learn the fiddle. I was attending the Cape Breton Festival of Scottish Fiddling at the Gaelic College with my grandfather, who was a fiddler. Up until then, it was always just him playing at our family gatherings. All of a sudden, however, I saw people my own age with the instrument." He was never in doubt and, even while touring with Cirque De Soleil, he was seeking out traditional jam sessions in every town. Brad subsequently formed his own musical outfit, featuring Dave MacIsaac on guitar, Jamie Gatti on double bass and Tom Roach on percussion to bring his vision alive. That vision is contemporary Celtic music, based on old-school Scottish fiddle music but giving a Cape-Breton-finish. He don't shy away from his worldy-wise experience, namely Latin, jazz and maybe even classical music. But after all, he takes the music out of the barn to the present-day dance floor. Doesn't the album's title tell the story? He pays homage, however, adds one or two cents and something new to make this music even more colourful and exciting. "NEW Scotland" is cheerful and enchanting but technically mature as well. Half of the music comes straight from the Scottish/Irish tradition, with Brad lilting "Lucy Campbell's Strathspey" and "Sandy Cameron's Reel" accompanied by Québec-style foot-tapping and rendering the old Gaelic ballad "Fonn Air Mo Mhàiri Laghaich". The other half is Brad's original work, including oddities such as a 3/2 reel ("The House Across From Flora's") and a blues march ("An Fidheall Gorm / The Blue Fiddle"). As a matter of fact, Brad Reid is familiar with the whole body of traditional music, be it a slow air, a slip jig, a strathspey, and of course reels, reels, reels...
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Patrick Mangan & Friends "The Frost Is All Over"
Own Label, 2020

Artist Audio

www.patrickmangan.com

A born-and-bred Brooklyn man, Patrick Mangan studied the fiddle with some renowned musicians from the Irish music community of New York. Twice he won the All-Ireland fiddle finals, and debuted with the Riverdance show at the very age of sixteen. It took him around the world ever since. There is a hibernal theme running through his solo album, though it's not a holiday album per se (I guess though I'm not too sure). However, it is warm and comforting to say the least, and who knows what else Mistress Corona has in store for us all in the next weeks and months. It is kicking off with the traditional jig "The Frost Is All Over" and the popular three-part reel "Christmas Eve" (not that old but a composition by fiddler Tommy Coen broadcast on Irish radio on Christmas eve 1955). The album closes with "The Wexford Carol" leading into Patrick's original tune "Johanna's Jig" and bringing it to a happy end with "The Foxhunters". Sandwiched inbetween these sets are more traditional Irish tunes and some surprises such as Johann Sebastian Bach's cantata "Wachet Auf" (actually a hymn composed by pastor Philipp Nicolai in 1599, Bach made up the choral setting which can be found in the songbooks). "Táimse 'Im Chodladh" (I'm Sleeping) is a haunting slow air, when sung belonging to the aisling type (i.e. the poet is sleeping and dreaming of a beautiful woman representing a liberated Ireland). Patrick's original "Tune for Joe" is equally touching. He is a delicate and precise as well as a quite eclectic fiddle player at length. Because of the pandemic he couldn't invite any other muscians into the recording studio but was able to employ some virtuosos from both Europe and North America, to name just Declan Masterson (piano, guitar, bouzouki, low whistle) and John Whelan (accordion). There are also several vocalists thrown in for good measure: Seamie O'Dowd's version of "The Snows They Melt The Soonest" is a fine addition to the underlying subject. Folk singer and storyteller Johnny Cuomo renders the Afro-American Christmas song "Oh, Watch the Stars," I personally haven't heard before. However, "Lo, How a Rose E'er Blooming" is pure Holy Night; it is the 1894 translation by Theodore Baker of the 16th century German song "Es ist ein Ros entsprungen". Julia LiBassi's tender effort is the final maelstrom to draw you into an enchanting album.
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John Tunney "The Immigrant: A Stone on the Cairn of Tradition"
Grove Records, 2020

Artist Audio

Paddy Tunney

www.johntunney.ie

"For me," says John Tunney, "this booklet and CD are not so much an 'album' in the old sense of the word as the creation of a piece of practice-based musical heritage. Inevitably the approach that I have taken makes it a journey into the richness of the song and singing legacy of my own family, as well as being a deeply personal exploration of songs that I simply love to sing. As the subtitle suggests, this is my attempt to place a stone on the cairn of that family singing tradition."
John's father is the renowned Paddy Tunney (1921–2002), the self-styled "Man of Songs."[25] John (born in 1961) listened to him singing umpteenth times - at the hearthfire as well as large concert stages. He absorbed Paddy's songs, which in turn are the Tunney family's songs, which because of Paddy's stardom made the rounds. A list of followers would be endless: Paul Brady, Andy Irvine, Cathy Jordan, Dolores Keane, ... For better or worse, Paddy didn't allow any pop music (that oul' shite) in the cottage in rural Donegal, instead John grew up on a diet of traditional song and music, while the likes of Cathal McConnell, Len Graham and John Faulkner, to name just a few, were passing through. John also recalls that his granny Brigid sang to him as a baby, not only lullabies but numerous traditional songs handed down in her family for ages.
John chose to deliver the goods without any further musical accompaniment: "It seems to me that the only truly countercultural thing left for someone like me to do is to continue to seek to really master singing the songs in the old way. I am closely wedded to the 'radically traditional' approach of unaccompanied solo voice singing. In deference to the Zeitgeist of our time, I have taken to calling this approach 'Rad Trad'. All interest, pleasure, colour, mood, variation and amusement is produced by the naked human voice. The art of unaccompanied singing probably takes more effort from both singer and listener but I think it's worth the trouble." He wasn't left alone though, it is a family affair and he is joined by his five siblings, his son Conall and several more of the clan to keep the fire burning.
There are signature Tunney songs such as the Jacobite classic "Royal Blackbird," the Child ballad "What Brought the Blood" and the drinking song "You Rambling Boys of Pleasure" (however, rather obscure is the subsequent "Drinking Strong Whiskey") alongside previously unrecorded novelties. "I Am Awake" is Paddy's adaptation of the Gaelic "Tá mé 'mo shuí;" "The Rock of Doon" is a poem dedicated to piper Séamus Ennis set to the tune of the set dance "King of the Fairies." Another short poem of Paddy's, "Hybrassil" dedicated to his wife Sheila, is set to the tune of Robert Burns' "Now Westlin Winds." John himself wrote the traditional-style famine song "Remember Doolough" unearthing the melody of "Valley of Knockanure". The traditional tune "The Emigrant" is put to good use for "The Immigrant" about a survivor of the Srebrenica massacre in the 1990's Bosnian War who eventually found his way to Ireland: "With some people trying to stoke the fires of xenophobia and racism, this is my small contribution to encouraging understanding and tolerance of those who, for a variety of reasons, have chosen to come here and make Ireland their home."
In some way fitting, the album concludes with "Kind Friends and Companions." John relates: "At a time when matters were very difficult during the Northern troubles, the mid to late 1970s, when literally hundreds of people were being killed annually, Ulster singers continued to come together to sing the old songs much as they had ever done. Da often recalled a night in the Ulster Hall, before a mixed audience, when the singers on stage announced - to gasps from all sides - that they would finish with the national anthem. They then sang 'Kind Friends and Companions' to relief and good cheer all round. It was a moment he never forgot and he came to think of it as the perfect 'parting glass' song. As the years went by it became a core song for us and every session that we have at home inevitably finishes with it."
The comprehensive booklet puts everything in perspective, and if you want to sing yourself you'll find the song lyrics on John's website.
© Walkin' T😊M


Nóirin Lynch "In Her Own Time"
Own label, 2020

Artist Audio

"I want to dedicate this album to those who made up the Kilshanny Singing Circle over the past years. On our covid-hiatus, we have all realised how blessed we have been to meet monthly on the road between Ennistymon and Lisdoonvarna; creating a circle of songs that wound a unique magic round all our hearts. Thanks to Mary and Aidan who welcomed us, to locals who were patient with us, and to all who travelled cross country and from abroad to be there. Go mbeirimid beo 's le cheile aris (May we be well and together again soon)." — Nóirin Lynch

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Nóirin Lynch is a singer-songwriter based outside Ennis in County Clare in the west of Ireland. Her sophomore solo album - with a band album sandwiched in, "Crag Road" - is a 10-track selection equally split into contemporary folk songs and original narratives of home and emigration, affection and adversity, closely related to the pandemic lockdown at present. The former includes Karine Polwart's well-known "Follow the Heron Home," Boo Hewerdine's "Bell, Book and Candle" (the metaphorical title referring to an excommunication method for having committed grave transgressions), the late Australian singer-songwriter Michael Kennedy's "Baking Bread" (already covered by Chris & Kellie While), and, last but not least, the haunting "Road to Drumleman" written by Willie Mitchell of Campbeltown in 1948 and put to new music by Ossian's Tony Cuffe, a favourite song for some but apparently flying under the radar. (There actually is a German language version called "Die Wege nach Norden".) The traditional Irish lullaby "Seoithín Seó" has additional words by Nóirin and this is the bridge to her original work; the song titles here show a love affair with the nearby ocean: "Harbour", "Selkie", "Tumbling into the Sea,"... Nóirin's soothing voice is calming life's stormy waters, and while the outside world is falling apart she lights up a warming hearthfire. This heartiness is maintained thanks to the benign support of guitarists Clara Buteler and Martin O'Malley, bouzouki player Eoin O'Neil, double bassist Jon O'Connell, fiddler/mandolinist Adam Shapiro, and former Altan accordionist Dermot Byrne.
Nóirin has issued videos for a couple of the album's songs which I don't want to withhold from you: "Harbour", "Tumbling into the Sea", "Seoithín Seó", "Bell, Book and Candle", "Baking Bread". Please have a look and enjoy!
© Walkin' T😊M


Steve Tallis "The First Degree"
Zombi Music, 2014

Artist Video

www.stevetallis.com

When reviewing his latest album "Where Many Rivers Meet,"[74] I realized that I had not listened to Steve Tallis for quite some time and had ignored one or two recordings. Thankfully Steve immediatley helped out. With "The First Degree" from 2014, the Australian singer-songwriter-guitarist and alternative bluesman turned electrical again after a few forays into unplugged territory. His musical background is 1960's pop, rock and blues, at the outset; thereafter he set sail to circumnavigate the globe and pick up every fascinating sound and groove. It still informs his field hollers, even if he employs here some biting guitar riffs and gets loud and raucous. His crew, Skip McDonald on bass guitar (and organ here and there) and Evan Jenkins on drums, intuitively knows what Steve wants and what his musical vision requires. Steve's wayfaring is not only about geography but even more so a spiritual trip. At the album's beginning he conjures up the Voodoo goddess, then changes tack to talk about reality - with all the mourning of the blues and all the anger of rock music. Steve doesn't remain silent in "Silence in the House of God", but speaks up and cranks up when vocally pounding paedophiles, rapists and hypocrites: This has been going on for far too long! Jail the bishops, throw away the keys! Altogether Steve sings about tough times, about craving, about passion - and this is meaningful seven years after he materialised these songs on a silver disc, even more so in these cursed pandemic times.
© Walkin' T😊M


Andrew D. Huber "Chasing Time"
North Light Records, 2021

Artist Video

www.andrewdhuber.com

"Chasing Time" is the 6th album from Illinois singer-songwriter Andrew D. Huber. Huntley is his base, a small town (or big village if you like) and not Chicago with its electric blues and blues rock, Huntley though is a part of the Chicago metropolitan area, which might explain Huber's easy transition from folk into folk-rock. I loved his "Mockingbird Gallows" album from 2017 which was a real stunner.[65] Hard to follow up with, though he tried. After a recording break of more than three years, "Chasing Time" is a promise to come close. Acoustic folk rock with a Celtic tongue, remindful of the Waterboys or the Hothouse Flowers, is right up his alley. Fiddler Jo Marie Sison and percussionist Anthony Jay Houston are his assistants in climbing the peak. It goes down well - regardless of playing a grooving show-stopper or an almost epic ballad. In the folk rock realm, Huber is also amongst the superior when it comes to lyrics. I am not surprised that the album's leadoff single, "Safe Passage Home" (see the lyric video on Youtube) has received substantial airplay. At least on airwaves not yet ridden by cash and commerce.
© Walkin' T😊M


Niamh Ní Charra "Donnelly’s Arm"
Own label, 2021

German CD Review

Artist Audio

www.niamhnicharra.com

On the album the Irish Fiddler shows her talents also as a concertina player, and of course we’ve known for a long time that she is a wonderful singer (don’t forget: She hails from a musical family, her uncle Pádraig Ó Carra with his zither was several times on tour over here with the Irish Folk Festival). Now she puts all her talents together and invites highly qualified guests – the result: truly a joy for the ear. Instrumentals, songs in Irish and English, traditionals and even, surprise, a song by colleague Si Khan from the USA. On the cover we see a wild confusion of roots and a raised arm which looks like a picture from a book on atonomy. Prize fighter Dan Donelly died in 1820 aged only 31 years. The story of his arm, which gave the title tot he album, is told in the informative and highly readable booklet – and we understand that the arm would deserve a novel, but the CD is so lovely, so we can make to without the novel.
© Gabriele Haefs


David Munyon "American Guitar"
Own label, 2021

German CD Review

Artist Video

www.davidmunyon.de

The Songs on this CD were recorded more or less in one go in November 2020 after a period of catastrophes in the life of singer and songwriter David Munyon. The booklet tells about this and the listener feel awkwardly like a voyeuse, because the catastrophes are so private and no concern of others. But even though all the songs are melancholic, they don’t deal directly with the artist’s private woes. The title could make us expect a pure instrumental-CD, but the beautifully played guitar remains mainly in the background. On the cover David Munyon thanks Jesus for His never ending help, and we find religious motives in several songs, but it’s not exaggeratedly missionary. Munyon with his hoarse voice sings about all sorts of longings and often evokes traditional forerunners, like in his song „Beautiful Magnolias“. Not to everyone’s taste ​ perhaps is „Nuclear Joe“, the only song here which is supposed to be funny. It‘s about nuclear pollution, but in most songs melancholy prevails, in music and word, and makes the CD the ideal companion for long rainy evenings.
© Gabriele Haefs


Wren "Pink Stone: Songs from Moose Lodge"
Own label, 2021

German CD Review

Artist Video

www.wren-music.com

The moose lodge of the title is to be found in Methow Valley in the state of Washington. The info sheet for the press tells us that this valley is the old home of the Methow-People, whose few survivors today live in a reservation and speak English, even though their own language is not completely extinct. Of course we want to know more, but the songs by songwriter Wren have nothing to do with them. She simply likes to retire to Lodge Moose, first after a long period of sickness in 2016, by now in order to be able to work in peace and to find inspiration in the nature which surrounds the lodge. Her songs, which she accompanies on the guitar (among the remarkable guest musicians we find Krista Detor, accordion, and Gordon Lowry, violine) are Americana of high quality; titles like „The Sun is Going Down“ and „Corn Stalks“ tell us what they are about. Most songs are in a rather melancholy vein, the exception: the lively waltz „Cedar Tree Boy“. Makes you want more Wren (for over here she apparently is not as well known as she deserves).
© Gabriele Haefs


Sveriges Vänner "Fin är du"
Own label, 2021

German CD Review

www.sveriges-vaenner.de

„Friends of Sweden“ are a German duo consisting of Gudrun Selle and Johannes Uhlmann. On this CD with subtitle „Fin är du“, which means: „You’re a fine one“ they present Swedish CD. Whoever this „fine one“ is supposed to be, we can return the compliment immediately. The album starts with a Schottis, a merry intro into the CD. The rest is a colourful mixture, a sober hymn, all sorts of dance music, polskas, more Schottis and a Rhinelander. One Polska has the wonderful title „Polska to which Gustavus Adolphus danced with Ebba Brahe“, and don’t we see the two of them, freeing themselves from the rigid codes of behaviour at court? „Vem kann segla“, a lullaby which is very popular in the Scandinavian countries, is here as well. The duo play flute and accordeon, which provide the true Swedish sound, and if a tiny bit of critism may be allowed, then this one: Spend a bit more time rehearsing Swedish pronunciation, the rolled r and the ligatures, then everything will be perfect.
© Gabriele Haefs


Steve Tilston "Such Times"
World Music Network, 2021

German CD Review

Artist Video

www.stevetilston.com

The Leicestershire songwriter has worked together with so many legendary artists, let us only mention Bert Jansch, John Renbourn and Maggie Boyle, and this makes it easy to forget that he is worthwhile listening to also on his own. The CD is probably a slightly delayed present to his fans on the occasion of his 70th birthday, and we thank the strapping jubilant with all our heart. 14 songs and one instrumental, everything written by himself. Song Nr. 3 perhaps is his motto: The is living with the blues. Life on the road, in reality and in a more symbolic way, a lot of movement, a lot of longing, many unsolved questions which make to road before the wanderer even more interesting make the mood of the songs („My mystery train“). On the cover we read that Steve Tilson is „tapping into the Zeitgeist“, but here we can have our doubts, perhaps he deals with timeless things, to which the Zeitgeist has very little to say? But that does not matter, ​ wonderful music, verses to dream and to get active by, and every now and again a catchy tune like „Dust from my heels“.
© Gabriele Haefs


Emma Langford "Quiet Giant"
Own label, 2021

Emma Langford "Sowing Acorns"
Own label, 2020

German CD Review

Artist Audio

www.emmalangfordmusic.com

Emma Langford comes from hear Limerick, but on this CD we hardly hear any Irish influences. The cover is like taken from a fairytale, a dark wood with a Hansel and Gretel house, we have to look for a moment to find the quiet giant, but there he is! There are many fairytale motives in the songs, we meet the Sandman, there is a princess like Rapunzel, wie hear about Beauty and the Ruin, and the whole thing turns biblical when Eve appears, a long time after being expelled from paradise. All songs are very much from today, though, and all of them were written by Emma Langford herself. She accompanies her singing on the guitar and has invited an amazing selection of guest musicians, most impressive are Hanna NicGearailt, who plays the piano and sings the backing vocals. There are so many styles meeting here, so many ways of developing a melody, this album is truly an adventure, which never comes to an end, because you have to listen to it all over again and watch out for more allusion in music and content.

On this album Emma Langford takes up Irish and Scottish traditions. The first song is in the style of a waulking song, „Ready-O“ show what a brilliand unaccompanied singer she is. All songs on the CD were written by herself, but this time the influences of Irish music are a lot more obvious than on „Quiet Giant“ of 2021. Again she has invited ​ many guests into the studio, but in spite of the multitude of instruments all songs show her very own distinctive style. The songs often are about persons in a crisis – the 12 year old who misses her voice, the man who cannot find his way around in his own country any more, someone locked up in a catastrophical relationship, someone who sees no way out – but the instrumental adornments show each time, that almost always some hope exists. Beautiful as a dream altogether.
© Gabriele Haefs


Varo "Varo"
Own label, 2020

German CD Review

Artist Audio

www.varodublin.com

Varo is a French-Italien female duo devoted to Irish and Scottish music and living in Dublin. Both singers play the fiddle plus various other instruments, and they present studio guests from Ireland who play many other stringed instruments. The album starts with „Ye Jacobites by name“, which seems to be extremely popular in Ireland at present. Like the Johnstons long ago Varo sing a version of the text in standard English – and the Johnstons seem to be one of there foremost inspirations, also „The Doffing Mistress“, a Belfast song, is taken from their repertoire. There are many other old favourites on the album as well, „As I roved out“, „Sovay“ and „Streets of Forbes“, to name but a few. Everything makes for pleasant listening, is presented with a great feeling for details in the way voices and tunes are used, truly an interesting acquaintance. But if you are looking for Irish, Italian or Gallic temperament you’ve come to the wrong door, there is much crooning and whispering here, no fury even in „The Streets of Forbes“, where we really expect it and which we love and appreciate in June Tabor’s canonical version.
© Gabriele Haefs


Deborah Henriksson "So far"
Own label, 2020

German CD Review

www.deborahhenriksson.com

Deborah Henriksson is a Swedish-American singer and songwriter, singing in English. Most songs on her double-CD were written by herself, others were made known by Clannad, Robert Burns and Eleanor McEvoy, to name but a few. On her website Henriksson’s style is described as Contemporary Folk/Pop/Celtic, which probably ís true, the pop-elements are strongest, but every now and again and with the help of Mats Nyman’s piano accompaniment it sounds like a classical Lieder-soirée. „Ae fond kiss“, for example, known in endless many versions, is sung here as if it were written by Franz Schubert and not by Rabbie Burns, only the title is Scots, the rest of the text has been transposed into standard English. Scottish influences make themselves known here and ​ there, „Breakers’Roar“ definitely owes its existence to „Mó ghille mòr“. Everything sounds lovely, beautiful, pleasant to listen to, but sometimes a bit less polishing would have been nice as well. Ideal music for fans of classical Lieder soirees.
© Gabriele Haefs


Merry Hell "Emergency Lullabies"
My Hell Music, 2020

Merry Hell "When we meet again" [EP]
My Hell Music, 2020

German CD Review

Artist Audio

Artist Video

www.merryhell.co.uk

Many years ago, when the Pogues and The Men They Couldn’t Hang were young and showed the way, this type of music was called Rogue Folk, and this name fits Merry Hell perfectly. This English band seems to be a family enterprise, half of the staff anyway have Kettle for a surname. And weh ave to give a special mention to Virginia Kettle who sings naughtily and like a brat from the gutters, simply wonderful. The songs, all written by the band, are about everyday madness, („Go down fighting“), about the environmental collapse which just perhaps can still be prevented, about Sister Atlas loading the world onto her shoulders and hopefully making a better job of it as brother Atlas in his day. And of course the songs are about sailors, love and the longing to have a home and to be allowed to keep it. Merry Hell have a penchant for hymns, which is also proved by the EP „When we meet again“. Here they sing three songs together with the Social Isolation Choir, calling for solidarity, no matter how hopeless everything may appear. This choir consists of more than 300 voices who all recorded themselves and sent the recordings to Merry Hell. Simply overwhelmingly great.
© Gabriele Haefs


Perttula "Pajavasara"
Bafe's Factory, 2020

German CD Review

Pajavasara, blacksmith’s hammer, is truly the right name for this album by Finnish accordeon virtuoso Perttula. He compares working on his musical material to the craft of a smith who has to use his hammer to make iron and ore yield the possibilities they hide. In addition there is the rhythm, for Perttula likes a bit of temperament, and so we get the feeling that we’re hearing the hammer in the background. But before the trusty smith hammers the ambolt into the ground the tunes turn gentle and melancholic, after all we’re in Finland, the land of vast emotional changes. Instead of Finnish tango we are treated to waltzes, the CD really has that many variations in its music. We don’t get lots of info, though. „Compositions and arrangements“ by Perttula, the cover says, but whether he has written everything himself or arranged traditional material in a new way, everything sounds wonderfully Finnish and absolutely like the craft of mastersmith Perttula!
© Gabriele Haefs


GF Morgan "Driftwood"
Eigenverlag, 2020

German CD Review

Artist Audio

www.gfmorganballads.com

On the cover GF Morgan with his tam o’shanter pulled boldly over his ear looks as if he’s on his way to join Rogers‘ Rangers, but like them he hails from Maine, which probably explains it all. After we’ve seen the photograph it comes as a surprise that his singing is so gentle, not warlike at all, not even in a song about Tommy who goes off to the wars. GF Morgan plays guitar and concertina, writes his own songs, but also sings traditionals, preferably the versions which came to Maine a long time ago and survived there, like „Barbary Allyn“ or „Twa Corbies“, for example. The Corbies show us that GF Morgen also has a penchant for Scottish and Irish music, several traditionals on this album were composed by Carolan or are at least attributed to this blind harper. One composition is by James Scott Skinner: „Hector the Hero“ and sounds frighteningly topical. Hector McDonald, a highly decorated British officer, was suspected of having sexually abused young boys, while he was stationed in India. Apparently no one was interested in finding out what really had happened. This was a tiny historical digression, the tune is an instrumental and does not take sides, it is simply another jewel on this jewel-studded album.
© Gabriele Haefs


Sigrid Moldestad "Tonen i meg"
Grappa/Heilo, 2021

German CD Review

Artist Video

www.sigridmoldestad.com

Norwegian Sigrid Moldestad is a true multitalent: She writes most of her songs, sings, plays fiddle, hardingfele and ukuleke and has a great way of selecting her studio guests. So, logically, the result is a wonderful album. Moldestad loves to mix styles, she starts off in a very folky way, but turns dramatic in the same song („Tonen i meg“, „The sound in me“, the namegiving piece on the CD). We can hear many origins of inspirations in her songs, Norwegian traditions, Swedish visesang, international songwriting, Country, to name but a few. A handful of songs which you simply keep on humming for days are based on these country influences, „Karolina“, for example. Even one instrumental is to be found on the album: Blågras, meaning „Blue Grass“, and that’s just what it sounds like. Also Sigrid Moldestad’s clear, rich voice which pronounces each word distinctly deserves a lot of praise. This is her sixth album, high time for us to discover this remarkable artist also over here.
© Gabriele Haefs


Liz Simmons "Poets"
Eigenverlag, 2021

German CD Review

Artist Audio

www.lizsimmons.net

A (much too short) album by this songwriter from Vermont. Most of the songs were written by her, others by the likes of Sandy Denny and Joni Mitchell. Joni Mitchell seems to be her absolute idol, again and again can we hear Mitchell’s style in Simmons’s songs, especially of course in „Night in the City“. The great surprise on the album is a song by Holland-Dozier-Holland, songwriterkings from the Motown-scene of the sixties: „This old heart of mine“ – totally different from all other versions we’ve heard before and absolutely a highlight of the CD. Liz Simmons accompanies herself on the guitar, it all sounds wonderfully folky, she had able studio guests, only the drummes tend to exaggerate (she’s using more than one) and beat a monotonous, obtrusive rhythm as if they had been asked to play dancemusic somewhere on a tourist ferry.
© Gabriele Haefs


Tony Trischka "Shall We Hope"
Shefa Records, 2021

German CD Review

www.tonytrischka.com

Banjoplayer Tony Trischka is one of those who always seem to have been around but still have to be discovered by larger audiences. New he has issued a concept album where he is heartily present with his banjo. A lot of studio guests have found their way to the microphones, among them, to name but one, Maura O’Connell, Ex-De Dannan, who sings the part of an Irish immigrant in the USA. The subject oft he album is the American Civil War, and many participants have their say: Immigrants who were drafted immediately, soldiers who think it’s all great sport (trigger warning: If you don’t enjoy lines such as „I’ll march away to the fighting line and I’ll kill that enemy soldier“, you won’t be happy with this CD), slaves fighting for their liberation, and even Franklin D. Roosevelt who many years later tells us about American patriotism. A richly varied album with many interesting names, many of which we still have to discover over here.
© Gabriele Haefs


Ensemble Vinorosso "Schräge Zeiten"
Kaleidos Musikeditionen, 2021

German CD Review

Artist Video

www.ensemble-vinorosso.de

Weird times, indeed. „Corona suited chamber music“, as the press text says, from Ensemble Vinorosso, a gang of eight. Surprising changes of metre are their speciality, and on this purely instrumental CD they can let their passion run free. Many musical styles are presented here, classical music, Gypsy swing, many things Balkanese, but also an Alpine Zwiefacher. And then, all of a sudden, the whole thing turns oriental (and sounds like the background music in „Angélique and the sultan“). Of course there is klezmer, we hear treacherous waltzes like in Vienna, and Ravel’s „Bolero“ acted as godfather to one tune. So much is happening on this CD! And those who want to know more find it all in the exhaustive informations about every piece which are printed in the booklet – „The 5er (here in c-major) is the smallest complex metre (a 3/8 followed by a 2/8 element) …“ and this we hear, of course.
© Gabriele Haefs


Ian Melrose und Uwe Neumann "Heine gets the Groove"
Timezone, 2021

German CD Review

Artist Video

www.heinegetsthegroove.com

Texts by Heinrich Heine, sometimes as recitals, sometimes sung, mostly by actor Uwe Neumann. Ian Melrose also sings a bit, but mostly he shows his amazing skill on all sorts of stringed instruments. Among the guest musicians Jan Hermerschmidt must be named, whose clarinet absolutely puts its imprint on the sound. Uwe Neumann has chosen the texts, and he did not necessarily settle for the best known ones (like the „Loreley“), which makes the album a great opportunity to get acquainted with the many faces of this poet from Düsseldorf: Heine the sharp sighted political observer, the cross-starred lover, the victum of anti-semite harrassment, the man behind a lot of sexist talk, the lover of everything Parisian. Highly interesting to listen to it all, especially when you have only seen the texts in print so far. There are moments of irritation, though, like when Uwe Neumann for reasons unknown pronounces the Flemish placename Waterloo the English way – Paris he pronounces like a German word, at least.
© Gabriele Haefs


Mark Schatz & Bryan McDowell "Grit & Polish"
Patuxent Music, 2021

German CD Review

Artist Audio

www.markschatz.net

Schatz und McDowell hail from Tennessee, their postal address is in Nashville, even, and this really raises great expectations. Which are fullfilled in the finest way. They start with feisty fiddling, but they also know how to do it slowly, melancholly, here a flowery waltz (the „Gardinia Waltz“), there a home-loving song („My East Tennessee Home“), in the hopes that the home may be spared from all sorts of catastrophes. Love is very important in the songs, of course, we find a lot of hillbilly-humour, like in „There ain’t nobody here but us chickens“. This album is a highly successful mixture of loud and quiet, sad und funny, of instrumentals and songs. And to crown it all a song by Bob Dylan, totally different to the versions we are used to: „One too many mornings“. And by the way, we absolutely must mention Mark Schatz’s jew’s harp, it’s a long times since we’ve heard such a virtuoso on this instrument!
© Gabriele Haefs


Andy Irvine & Lillebjørn Nilsen "Live in Telemark"
Grappa/Heilo, 1994/2021

German CD Review

Article: Live in Telemark

Article: Andy's Favourite Child Ballads

www.andyirvine.com
www.lillebjorn.no

We had to wait a lot of time for this album. The two of them have performed many more times live in Telemark since then, but the songs on this CD were recorded in 1994! No one seems to know for certain why the recordings had to lie around in archives for such a long time, but they did not get mouldy. The album is a joy to listen to, and of course far too short, since it lasts roughly one hour. A photograph shows the two artists all those years ago, Lillebjørn with short hair, menacingly frowning, cigarette in hand, Andy without a grey hair on his head yet. Just like the music! One sings in Norwegian, the other can be heard in the background, and vice versa, their many instruments go along perfectly together, they perform old favourites („My heart’s tonight in Ireland“ and „Ola Tveiten“), things we don’t hear that often („A Prince among Men“ and „Jenta in Chicago“), a handful of instrumentals are thrown in, between the songs they introduce each other to the audience and make a few jokes, it’s pure joy and great fun, and this cannot be said often enough.
© Gabriele Haefs



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