Issue 24 12/2002

FolkWorld CD ReviewsDog

Enoch Kent "I'm a workin' chap"
Label: Second Avenue; SAS2007; 2002; Playing time: 56.16 min

What I should mention first - I have a deep love for the Glaswegian song culture. I have always highly enjoyed to hear songs of the likes of the Hamish Imlach, Danny Kyle or Iain MacKintosh. Recently I have not heard much Glaswegian songs...
So it was a pleasure to receive out of Canada an album of the good Glasgow singer Enoch Kent. Although he has lived in Canada for quite a while, you can hear from his first word on where he was born and bred.
'I'm a workin'chap' is a singer album. Some of the songs are a capella, but there are also some instruments to underline the songs: Enoch himself plays guitar, other guitarists are Ian Bell and Tim Harrison, Shelley Brown plays the flute and does some background singing, Lawrence Stevenson plays fiddle and also sings and finally the third background singer is Tam Kearney. The music instruments stay always in the background, they are just underlining the singing.
Enoch sings some well known, some lesser known and some own songs - among them are Jamie Foyers, Collier Laddie and The Bonnie Lass.
This fine album reminds me of great times I have spent in singers nights on the Isle of Bute festival and other places in Scotland... If you want to hear a fine typical Glaswegian singer, give Enoch your ear!
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Christian Moll

Wah "Nous sommes du soleil"
Label: own label.; 2002; Playing time: 19.01 min

Wow - what a band! This just ca. 20 minutes long promotional CD lets me wait for their first full CD - hopefully they will make it in 2003!!!
Wah - that means 'Yes' in popular arabic - is a young band hailing from Nimes in southern France. Their music is very fresh and straight forward. Wah are calling their music short oriental groove. On the one hand it is very European music, on the other hand it has many arabic influence. They are doing a very hot mixture of music mainly form around the Mediterranean - pretty close to arabe-andalousian. They are singing in four different languages: French, Spanish, Arabic and English - and besides having different cultural influences they are also musical very open minded: Jazz, pop latino, rock and reggae. And one of the lead singer - Djamel - has even studied for seven years opera singing, and he is a confirmed choir dorector - which is great for Wah, because they all do sing.
So check out WAH - they are worth it! I am sure they will make it to the top...
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Chirstian Moll

Malinky "3 Ravens"
Label: Greentrax; CDTRAX233; 2002; Playing time: 56.05 min

Malinky is one of the rising young bands from Scotland. I first heard the band around the great young singer Karine Polwart some years ago when they won the Danny Kyle award at the open stage at Celtic Connection in Glasgow. One year later they had their debut CD on Scotlands finest label - and this is now their second album.
It's always great to find young musicians playing acoustic folk music. Although I do love also some harder and more weired stuff, it is great to have the real acoustic stuff played by the young gernetaion of folk musicians. And Malinky are one of the best in Scotland.
As you can see from the producer of the album - John Morran, a very fine Scottish singer best known for his work with Deaf Shepherd - Malinky are focused on the songs. 10 out of 13 tracks are songs - and with three great singers (Karine Polwart - who has been singer in the Battlefield band for a good year, before leaving again to focus on Malinky, Steve Byrne and Mark Dunlop) in the band this is obvious and good. Some songs are traditional, but with the time the bands members are becoming increasingly good songwriters, too...
I have talked a lot about the songs by now - but although focussing on fine songs, Malinky are also a excellent instrumentalists: They play fiddle, bouzouki, whistle, bodhran, box, guitar, cittern and mandolin. Especially the new member Leo McCann - maybe the finest button box player in Scotland - makes their sound even richer.
The Scottish traditions will be kept alive by great bands such as Malinky.
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Christian Moll

Fraser Fifield "honest water"
Label:Tanar Records; TANCD001; 2002; Playing time: 48.58 min

Fraser Fifield is a well known face in the Scottish music scene. The young Scotsman is best known for his innovative Scottish folk saxophone playing and as piper and whistle player. But he plays many more instruments...
The first time I recognized him as an outstanding musician was on the 1997 album 'right side o' the people...' by the Mick West band - on this amazing album Fraser's saxophone playing to traditional style singing was just great.
But lets talk about Fraser Fifields first solo album - and this really is a solo album: Fraser has composed all the music on this album and he even plays nearly all the instruments. Only on three tracks he is joined by Graeme Stephen on electric guitar and on one on acoustic guitar by Malcolm Stitt. Fraser plays: low whistle, soprano and alto saxophone, small pipes, border pipes, highland pipes, keyboards, acoustic guitar, clarinet and various percussion instruments including cajon, djembe, congas and bodhran. Fraser is seldomly heard as a solo musician on this album, normally you can hear Fraser playing many instruments at the same time - the sound nevertheless sounds very much like a great band in full flight.
His compositions are great, a bit weired, some are really ear wigs. His music is steeped in the traditions of Scotland - but it has many other influences.
An innovative album of an innovative young musician. You surely will hear much more of him.
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Christian Moll

Marimba Plus
Label: Roff; RoffCD030; 2001; Playing time: 56.50 min

Marimba Plus are hailling from russia - their music is innovative, rootsy, a bit trancy, a bit clubby, a bit jazzy, with a definite classical touch, and it seems to be played just on acoustic instruments.
I can't tell you much about the band or this album, because the information in the booklet is very sparse - and apart from the titles of the tracks (which are translated into English and in Latin letters) all the information is in cyrillic.
The compositions are all made by the band - and they like to play longer pieces (half of them are longer than 8 minutes). The central melody instruments are a wooden flute and a clarinett or saxophone together with a xylophon; additionally there is a double bass, a viola and percussion.
Marimba Plus have created a fascinating piece of art.
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Christian Moll

Gilles Le Bigot "empreintes"
Label: Keltia Musique; KMCD137; 2002; Playing time: 49.39 min

Gilles Le Bigot is a wellknown Breton guitarist (and tambura player), he has played and plays in several bands. But now he has made his first solo CD. Solo album might not be the totally right description - he has invited many guest musicians to play with him. But Gilles has composed nearly all the music played on 'empreintes', except two numbers, one of them traditional.
His band includes saxophone, clarinette, flute, acoustic bass guitar, guitar andpercussion. And for a bit of variation he has invited Marthe Vassallo to sing three songs, one in English language ('The fisherman' written by Eithne Ni Uillachain) and two in Breton language, one trad and one written by Marthe.
All in all a more quiet album with some great moments. Especially I like some of the moody saxophone episodes.
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Christian Moll

Olatz Zugasti "Elearen Lainoa"
Label: Elkar; KD-620; 2002; Playing time: 53.11 min

Fine songs from the Basque Country are on Elearen Lainoa presented by the excellent female singer Olatz Zugasti. Olatz has a fine voice, she knows how to create emotions. Some songs are quiet and thoughtful, others are more straight forward and a bit aggressive.
The arrangements are well made, they underline the voice in a fine way. I try to translate the instruments played on this album from the basque language - hopefully I will not be totally wrong: The musicians on the album are Xabier Zeberio who plays Arrabita (no idea what that could be), Francisco Herrero plays violin, Pell Ramirez the cello, Rafael Alonso the oboe, Mixel Ducau sax and clarinet, Angel Unzu guitar, percussion, keys, accordion and acoustic bass, Mikel Fernandez does programming, and plays keys, percussion, piano and 'ahotsa' (I do not know...) finally Olatz herself plays harp, keys and ahotsak.
It is an album full of mood - I like it.
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Christian Moll

Besh o droM "Can't make me! - nekemtenemmutogatol!"
Label: Asphalt Tango Records; CD-ATR 0203; 2002; Playing time: 63.31 min
Besh o droM are a fast and furios band from Hungary's heart Budapest. In 1999 the band was founded by young musicians who wanted to 'go their own way' - this is what their name Besh o Drom means, translated from a Gipsy language.
'Can't make me' is their second album, their debut album in 2000 'macsó hímzés' was released on the Hungarian label Fonorecords. 'Can't make me' is one of the first CDs to come on the very new Asphalt Tango Records label from Germany. This label was founded in mid 2002 of the label Piranha Records and Asphalt Tango productions it is focused on Gipsy and Balkan music.
But lets go back to Besh o droM - their music is a mixture of traditions from Hungary and the Balkan with beats and scratches, wild Jazz, Balkan Brass and Gipsy improvisation. Often it is very fast and wild - you just have to dance to it...
The seven band members are Ádám Pettik (derburka, water can, percussion and lead vocals), Gergö Barcza (alto sax, ney and vocals), Attila Sidoo (guitar and vocals), József Csurkulya (cimbalon and vocals), Péter Tóth (trumpet and vocals), László Békési (tenor sax, clarinet and vocals) and Tamás Zsoldos (bass guitar). Four guests are adding their style to complete this wild work: Mónika Juhász Miczura is lead singer of two songs and adds an oral bass on one of them, Géza Orczy plays tapan and once bouzouki , DJ Mango raps on one number and adds some scratching on two (Besh o droM are one of the few folk bands I have seen in live playing with an scratcher on stage...) and finally adds Busa some oral scratching.
If you are into fast and modern aspects of nowadays music - you should lend Besh o droM an ear. In january they are going to play some gigs in Germany, Austria and Swiss - watch out.
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Christian Moll

Ulla Pirttijärvi "Máttaráhku askái - In our foremothers' arms"
Label: Inovator Series, Warner Music Finland; 0927-44256-2; 2002; Playing time: 50.17 min
The yoik is a fascinating form of singing from the most northern parts of Europe. The indigenous folk of the Sámi, who are living in the northern parts of Finland, Norway, Sweden and a bit of Russia are using this ancient style of singing up to now. The yoik is traditionally very archaic. But there are some singers / groups who are innovating with their traditions. Ulla Pirttijärvi is a Sámi singer / songwriter who likes to experiment with her songs.
Ulla started her career as singer of the successful Sámi group Angelin Tytöt (the girls of Angeli, now they are called simply Angelit). She left them to do her own think. In 1997 she released her first solo CD - and this is now her second. This album is even more innovative than her first one. She is going some more steps forward.
Ulla has created a work between ancient archaic music and modern sounds. The Norwegian producer Frode Fjiellheim has done his part on this - he has done all the arrangements. I have also to mention, that a lot of the vocal parts of this album where made in Utsjoki, Ulla's home in northern Finland - sometime the nature and the reindeers can be heard in the background. In contrast most of the modern instrumental parts were recorded in a studio in New York - and some of the vocal parts, too. Ulla said in an interview in New York about this theme: "The yoik is within me and can be brought to the surface whether I'm at home in my own hous or standing on a busy corner in New York. But of course - the surrounding will affect the music in different way."
A fine record showing a possibility for archaic traditions to become a part of the future.
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Christian Moll

Bonga "Mulemba Xangola"
Label: Lusafrica; 362272; 2000; Playing time: 46.40 min
Bonga is a fascinating singer and a fascinating person. Bonga was born as Barceló de Carvalho in 1943 in Kipri in the - at that time Portugues colonia - Angola. He rejected his 'colonial name' soon and called himself Bonga Kuenda, this is an African name that means "who is looking, who is always ahead and moving".
In the sixties Bonga left Africa to become an athletic - he was as Barceló de Carvalho Portugal's 400-metre record holder for a decade and he was a star on the Benfica (Lisbőa) fűtbol team of the 1960s. But at the same time he was as Bonga an active member of the Popular Movement for the Liberation of Angola. Portugal was then ruled by the repressive right-wing Salazar government. As they saw that Barceló de Carvalho and Bonga was the same person, he had just enough time to go into exile in Rotterdam. Here he started his musical career. In 1972 he released his first album 'Angola 72'. From then on he recorded many albums - but he stayed close to his roots.
It is fascinating - the Portugues language is ideal for this kind of sad songs, on the otherhand are the melodies and the spirit often happy and open. These mixture of great emotions, african traditions, portugues saudade and power is a great experiance of lusophonian African music.
Bonga's new album (of the year 2000) is a good example of Bongas music - his husky voice and his songwriting are the center of the album. He has gathered a great bunch of musicians to back his songs with acoutic guitar, cavanquinho, accordeon, piano, bass guitar, drums and percussion, flute, saxophone and background choir.
If you have not heard of him - give him a try!
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Christian Moll

Régis Gizavo "Samy Olombelo"
Label: Label Bleu; LBLC 2569 HM83; 2000; Playing time: 48.56 min
Régis Gizavo is a strong character - if you have ever seen him perform together with the drummer / percussionist David Mirandon you will know what I mean. His shows are strong, somehow minimalistic (just two persons, a acordeonist / singer and a drummer), but with a very full sound and lots of emotions.
The diatonic accorion is one of the key instruments of traditional Malagasy music - but nowerdays the instrument gets fewer and fewer in Madagascar. Régiz Gizavo is one of the few exponents of accordeon music of the Gande Ile. He has changed over to the heavy chromatic accordeon to enlarge his playing possibilities - especially with the bass keys.
'Samy Olombelo' - this album was already released in 2000, but never reviewed in FolkWorld up to now - is his second album. It shows him in his best form. Along his singing and accordeon playing he adds himself some guitar playing and background singing, David adds some drums and percussion and on this album is a bass added, which is played by Francois Soria.
Fine one.
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Christian Moll

InChanto "Amors"
Label: Ethnoworld; IT CD 2010; 2002; Playing time: 40.08 min
InChanto are hailing from Tuscany in Italy. They are playing a acoustic music style - all the music is composed by band member Cesare Guasconi, most the texts are written by Raffaele Giannetti, who has played with them some time ago. Their music is inspired by the traditions of the region and Europe - it has a some strong medival feeling in it.
InChanto are five musicians: Michela Scarpini is the singing solist and percussionist, Franco Barbucci plays the fiddle, Cesare Guasconi the hurdy-gurdy, dulcimer and tastiere, Marco del Bigo plays the guitar, bodhran, celtic harp, cetera, darbourka and percussion and finally Daniele Belloni clarinet, divers flutes and tin whistle.
The music is melodious and gentle, the right thing to lean back and follow them with your thoughts. The texts are in divers languages: ancient french of the medival age, french and fiammingo, english, italian, etc.
A nice album with a fine artwork of the booklet.
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Christian Moll

Mustarastas "Ethnic Winds from the north - a collection"
Label: own; SSCD-011; 2002; Playing time: 52.34 min
Mustarastas are a young band from Finland. Founded in 1994 in Espoo, they have already released 6 albums, this one is their newest - it is a compilation with tracks of the divers CDs of them. The compilation seem to be made especially for the non Finnish market - as all texts and infos are written just in English language.
Mustarastas have a full sound with lots of emotion - it is well balanced between traditional spirit and new arrangements. Special are their polyphon vocals - they have two main singers (Tiina Eloranta and Rauno Lahti) and two additional singers among the instrumentalists (Aki Hauru, who also plays mandolin, laud, guitar and percussion and the guitarist Kari Haapala). The other instrumentalists are: laura Airola on fiddle, Kerttu Ahola on accordion, Reeta Kaila on tin whistle and finally Timo Rohkimainen on bass and percussion.
Their music is fresh and steeped in the nordic traditions.
Bye the way - if you are organizing a festival somewhere, Mustarastas is a fine band who is looking for some more work abroad. Give their nordic ethno music a chance to conquer the world.
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Christian Moll

"The Rough Guide to Hungarian Music"
Label: World Music Network; No. RGNET1092CD; 2002; Playing time: 72.49 min
"The Rough Guide to the Music of Russia"
Label: World Music Network; No. RGNET1107CD; 2002; Playing time: 68.37 min
The Rough Guide CD series is probably the most high profile series showcasing music traditions from countries around the world. This year, two of their compilations took the listeners into the world of Eastern European music, presenting two countries' music scenes that have experienced a lot of change and opening up since the fall if the Iron Curtain. Both of these CDs present mostly bands and musicians that I have never heard of, and both provide a range of music styles that goes from traditional via jazz to pop and rock.
The Hungarian Rough Guide CD is overall closer to traditional music than the Russian one is. A lot of the music has its roots in the dance house culture. Typical for this CD is mostly slow music based on several fiddles, at times added by a Hungarian clarinet-type instrument or hammered dulcimer. Some of these tunes sound rather shrill and unmelodic in my ears. Along to that some songs, some traditional with rather shrill female voices, some more singer/songwriter style. The only two names that I had been familiar with before are Muszikás and the Germany-based Transsylvanians. The latter are also my personal highlight of the CD, with their wonderful blend of rock and traditional transsylvanian music.
I suppose the mix on the Rough Guide to the Music of Russia is a bit more weired than the Hungarian one. A focus of the album is on an odd style of music somewhere between cabaret, singer/songwriter, pop and easy listening - somehow not particularly appealing when you do not even understand the language. Besides that, there is some rock music, some folk and trad music. Overall I was not too impressed with this collection. The names internationally known on the album are the Ireland based Loyko and Terem Quartet. I missed some outstanding Russian avantgarde folk bands on this CD, such as The Farlanders and Poslednej Chans. I think to make this CD internationally more interesting (and in the end it is the international and not the Russian market this CD is aimed for), I think the choice could have been better.
Nevertheless, both CDs give a different insight into the music of Russia and Hungary, where even fans of Eastern European music will definitely find bands they have never heard of.
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Michael Moll

Tom Paxton "Looking for the Moon"
Label: Appleseed Recordings; APRCD1069,2002; Playing time: 49.28 min
We have received two different reviews of this album - please read both: this and the one below...
Back in the Winter of 1965-66, I first saw Tom Paxton on concert. I came away from London's Royal Albert Hall that night humming his melodies "sotto voce", so as not to alarm my fellow passengers on the London Tube. But I was smitten that night nearly 40 years ago, and I have never fallen out of love with this extraordinary artiste.
As I have watched his career unfold, I have marvelled at the sheer consistency of his work. It seems to me that most Folk artistes peak within the first four albums and are almost "running on empty" for long periods after that. Not so Tom Paxton. He is incapable of coming up with a bad album.
But that said, I have to tell you, dear Reader, that I cannot recall a Paxton album so lacking in sheer IMPACT as this one. Somehow the usual Paxton "spark" is missing. And I will try to tell you just WHY that is.
First, I have to say that I was really looking forward to this album: it has been too long a time - 1994 - since his last studio CD for adults. Maybe my expectation was too high.
And it has to be said that an off-form Paxton is still a class above all of his peers and imitators. It reminds me of the famous comment aimed at former British Prime Minister David Lloyd George. Words to the effect that "Lloyd George firing on three cylinders was the equivalent of most of his opponents firing on all six"!
There are thirteen original songs here that run the gamut of subject matter, but have the common thread of Tom's humanity underlying them all. I was particularly awaiting the much vaunted song he wrote as a tribute to the brave New York firefighters who died at the World Trade Center on September 9th, 2001.
It is a decent attempt to capture the stunning and stirring heroism of that day, but somehow it falls short. Maybe the images are all-too vivid in our mind's eye for ANY single song to be able to "deliver the goods".
The one song on the CD that really did work the old Paxton magic on me, was a song called "Homebound Train". This recounts the death of his dad when Tom was just ten, and it really MOVED me, even though there was a part of me that saw the song as being perhaps a little on the "emotionally incontinent" side of things.
But, having lost my own father when I was ten, I immediately realised what Paxton had so cleverly done: he had put himself back into his ten-year-old's shoes. And show me a kid of that age who is NOT "emotionally incontinent"!
Before ending the review, I should add that he is joined by some stellar names on this album: a CD produced by veteran producer and musician Jim Rooney. One name stands out: his long-time collaborator Anne Hills. How well their two voices blend together.
Were he almost anyone else, this album would be deemed a qualified success. But he is NOT "anyone else". He is someone SPECIAL.
And someone capable of putting this minor "blip" firmly behind him., Appleseed Recordings, PO Box 2593, West Chester, PA 19380; Tel. 610-710-5755; e-mail:
Dai Woosnam

Tom Paxton "Looking for the Moon"
Label: Appleseed Recordings; APRCD1069,2002; Playing time: 49.28 min
We have received two different reviews of this album - please read both: this and the one above...
Another year, another Tom Paxton album, right? Well no, not exactly. This is Paxton's first solo studio album since 1994, and in the fact that it's the usual blend of high class lyricism and musicianship, then yes, it's another Paxton album. Still wearing his heart on his sleeve nearly fifty years after his first ever live performance, the topics and concerns may have changed but the man doesn't seem to have. 'Early Snow' and 'My Oklahoma Lullaby' reflect on the effects of the American economic downturn on small communities, whereas 'Homebound train' details the heartbreaking story of a ten year old trying to come to terms with the death of his father. It's not all doom though, and the passionate Paxton appears on 'Easy Noe, Easy' and 'Marry Me Again'.
Production is by Jim Rooney in Nashville, and a fair collection of the usual suspects turn up to help out in the studio (Al Perkins, Mark Howard and of course Rooney's other famous client, Nanci Griffiths turns up on backing vocals for a couple of tunes, as does Anne Hills.
The album also contains Tom's tribute to the 9/11 heroes written shortly after the event. When he performed this solo recently in London you could have heard a pin drop, and the full band version on here is pretty special too. Amidst all the stars rushing and gushing just after the event to say how wonderful they are, it would have been a refreshing change to have heard such a heartfelt response as this. Yes, it's another Paxton album, and boy, does he set a high standard.
Colin Jones

Blackmore's Night "Past Times with good company"
Label: SPV; Double CD; SPV 092-74492
"So, comely wench, thou wouldst make a tune with me? Hence to my chamber where we can make merry, er, I mean make music". Deep Purple and Rainbow guitarist Ritchie Blackmore turns his hand to cod medieval renaissance-style folk with the aid of the comely wench in question, vocalist and partner Candice Night. The cover photos leave no doubt as to Ms Night's assets, and her singing voice is only one of them, but to be fair she does a creditable job of delivering this half baked tosh in an acceptable fashion. Fans of Blackmore will go for this stuff anyway, but for the rest of us Blackmore's musical history makes his folk credentials clear. Nonetheless, the guy can certainly play and there are some nice tunes across the duration of the two disc live set. Maybe beginners would be better advised to dip their toes in to one of the three previous studio albums first.
For fans of the aforementioned groups I'd better mention that this live CD contains versions of Purple's 'Soldier Of Fortune' and Rainbow's '16th Century Greensleeves' rearranged for this group specially for this recording. Not having heard the originals I can't comment on how mangled they've become, but it may be fun to hear a Renaissance version of Deep Purple!
OK, enough of this. I'm not sure why I was sent this for review as it's definitely not my cup of tea at all, and despite all the jokes it is a well-played and recorded record. Check it out if you think it might appeal. There's also an enhanced CD available with videos and net access, but they spared me that version.
Colin Jones

S.E. Rogie "Palm Wine Guitar Music"
Label: Cooking Vinyl; Cook CD010
As the early catalogue number may suggest, this is a re-issue of an album that was well received in the early, heady days of 'world' music. Sooliman Rogie remains one of the very few artists from Sierra Leone to have reached Western ears, and if there are more at home like this that is a pity. According to Rogie himself "Palm Wine Guitar Music is like folk or blues. People sing heart to heart, what they feel. They drink a little to feel happy, and what they drink is Palm Wine."
The description is very apt, because this is gentle, happy music. Rogie himself was an unassuming, lovely man who toured here for around ten years before his death in 1994, a sad loss, as he still seemed to have much music left in him. However, we are left with this as his legacy, and a fine one it is too. If you missed out on it the first time here's your chance, and at the bargain price of 5.99 Pound Sterling (10 Euro).
Colin Jones

Cooking Vinyl International Music Series
- COOK CD0027
"Music for Turkish Oriental dance" - COOK CD025
"Samba Brazil" - COOK CD02026
"The Ukrainians" -COOK CD028
These are the first four releases in what Cooking Vinyl are intending to be a series of World Music albums showcasing music as it would be played in cafes, bars, clubs and on the streets worldwide. This, along with the 3.99 Pound Sterling (7 Euro) price tag means that you won't find many famous names here, but the material is what it says it is, music of the streets, and the chosen performers, mostly licensed from local labels, are adequate. Possibly the only complaint, even at this price, is the lack of sleeve notes and source information, but for those less interested in reading than dancing this is not perhaps a critical omission. The samba disc here is an example of a compilation licensed in from a local label, where good instrumentation is slightly let down by second division singers. Some of the material is also a little un-Samba like, but certainly has that Brazilian flavour. The Turkish disc is instrumental music played by a large ensemble featuring some fine playing, but unless you're a belly dancer or a masochist surely anything more than 20 minutes of this stuff at once would drive you crazy? The Ukrainian disc is a compilation of the first two albums the band 'The Ukrainians' made for Cooking Vinyl back in the early 90's. The production and playing here is of a very high standard, and for me this is the best disc of the three. However, these releases are not meant to be critical successes, they are meant to be impulse purchases which will give most people an introduction to international music at a painless price. The introduction album is a sampler of tracks across the series, and so is a better bet for the magpies out there. Just some of the delights coming up with samples included on the CD are a collection of Celtic fiddle tunes, Chinese music by the Guo Brothers, Indian ragas, a couple of Cajun collections from Doug Kershaw's US label, and compilations of music from Latvia, Greece, Trinidad, Spain, the Andes and 'Africa'. A series to watch out for, all you bargain hunters.
Colin Jones


More English CD Reviews: Page 1 - Page 2 - Page 3 - Page 4 - Page 5
More German CD Reviews: Page 1 - Page 2
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