FolkWorld #51 07/2013

CD & DVD Reviews

Eoghan Neff "Week One"
Own Label, 2011

www.eoghanneff.com

Rarely has solo fiddle been so exciting, or so innovative. Cork fiddle experimenter Eoghan Neff emphasises the pure acoustic and almost-live nature of this recording - and so he should, it is exceptional these days, even in traditional music. Everything on this CD was played acoustically by Eoghan and recorded in real time: no electronic effects, no over-dubs, no post-editing, no pre-recorded loops, and of course no accompanists. Yet here we have complex multi-layered arrangements, so what's the trick? Real-time looping: you play something, record it, then play back the recording over and over while you play something else. It's a trick which takes a lot of skill and patience, like mixing a live concert while you play, which is probably why Week One reduces down to only thirty-six minutes.
And why Eoghan looks drained in the photos. Yes, there are photos of the process. In fact there's a whole audio-visual package here: total immersion, scratch'n'sniff music. Each CD is hand-packed in a cardboard folder with cards, photos, napkins, hand-written notes and more, to underline the unique physical process which produced this album. Most listeners might not give two hoots about the way the noises were made, as long as they sound good - that's understandable - but the fact that this CD was one man's labour of love is inescapable in the packaging, the notes, and indeed the music. Eoghan has spent years exploring and mastering the range of sounds to be made by a fiddle - the scrapes, the knocks, the squeals, the whispers, as well as the pure musical tones - and he puts them all into his music to create an acoustic feast. I can't think of any fiddler with a broader palette of sounds, certainly not with the control of Eoghan Neff. And all this from a simple cork fiddle.
The result is spectacular. At times violent and dramatic, at times spiritual and sublime, this is extreme fiddling, a pinnacle of acoustic music. From it emerge the familiar melodies of the Irish tradition - A Stór Mo Chroí, Kiss the Maid Behind the Barrel, Merrily Danced the Quaker and others. It passes quickly - too quickly - but even after repeated listening there is still plenty more to enjoy and appreciate. There are possible comparisons with the music of Martyn Bennett, Chris Stout, and a handful of fellow pioneers - but this is unique, a step beyond. Jaw-dropping, inspiring, exhilirating, Eoghan Neff's music is something special. And this is only Week One!
© Alex Monaghan


Vamm "Vamm"
Own Label, 2013

www.vamm.co.uk

This CD came out of the blue, a very pleasant surprise. The two fiddlers involved - Catriona MacDonald[13] and Patsy Reid[38] - are deservedly well known, and I've reviewed several of their recordings. They are joined here by Marit Fält, a young Norwegian playing a rather special mandola. It's hard to believe that Vamm's music comes from only three musicians - they increase their firepower with the Shetland and Scandinavian techniques of double-stopping and ringin' strings, but that mandola really does seem to possess magic powers of accompaniment.
Vamm's repertoire is broadly based around Celtic and Nordic fiddle music, quite eclectic and surprisingly contemporary. There are a couple of Marit's compositions, and one of James Scott Skinner's, but others come from as far afield as Canada, as close to home as Oban, and all points in between. The trio has an ear for a good tune, a taste for the earthy harmonies of Lau or Fribo, and an absolute gift for arrangement. I'm reminded of Oliver Schroer, Alasdair Fraser, and numerous young Shetland fiddlers who have embraced Scottish and Scandinavian styles. Catriona was one of the first to do this, of course, studying the Norwegian Hardanger fiddle. Patsy comes more from the Scottish mainstream, but has become something of an expert on modal music, a great asset with Scandinavian melodies. Marit fills the gaps as an excellent accompanist, showing her understanding of fiddle music from Lochaber to Lappland.
An Aidan O'Rourke tune is always a good opener, and The Duchess of Yell is no exception. Its pumping rhythms and catchy melody give way to the grandeur of Castle Grant, and then the irrepressible swing of Jim Sutherland's reel The Ostrich. Marit's Miranda is a beautiful tune, low and melancholy. Woodridge Breakdown is at the other end of the fiddle spectrum, a Canadian creole showpiece full of joy and jive. Better Days continues the happy mood, until Felgrubben drowns it in Nordic misery. Fortunately, Scottish good humour comes to the rescue in the form of a few West Coast tunes, polished off perfectly by the fiddle duo. Another dose of Scandinavian soul on Lurkas brings us to the final track, piper Darren Milligan's Prospect Road, a chance for Vamm to pull out all the stops on a country-style slow drag. Beauty and power, light and shade, Vamm cover the whole range of fiddle music on truly delightful CD.
© Alex Monaghan


Simon Chadwick "Tarbh"
Own Label, 2013

www.earlygaelicharp.info

Simon Chadwick is a harp scholar, a researcher and reconstructor of ancient melodies, and here he performs five big pieces from the Scottish harp and bagpipe repertoire of Ranald MacAllan MacDonald, a prodigious early eighteenth century composer. The album title comes from the opening track, An Tarbh Breac Dearg or The Red Speckled Bull, the shortest of the pieces here at slightly under eight minutes. All the music on Tarbh is played on solo harp, a replica of the great mediaeval Queen Mary harp strung with precious metals. Its bell-like tones conjure castle courtyards and stone feasting halls, the privileged setting for the great music of Ranald's day.
Scottish music was rarely written down in the seventeenth and eighteenth centuries, and each performance was probably improvised to some extent. Simon has produced his own versions of these five pieces, with traditional improvisations, based on the oldest versions available, drawing on the bagpipe and song traditions of the Western Highlands as well as on the harp tradition. Some of this music is now best known as bagpipe pibroch pieces, and there's a long debate about whether the harp version came first or second which I won't go into. Either way, the parallels are striking, in ornamentation and structure, between harp and bagpipe versions. The doublings on A'Ghlas Mheur, for example, are almost identical to pibroch variations.
Other pieces, such as the wonderfully named Headless Body and the final A'Bhòilich, are closer to the harp music collected in Ireland by Bunting and others, reminding me of O'Neill's March or Limerick's Lamentation. Chadwick's versions of all these melodies are grand and imposing, overwhelming at times, for this is serious music. His performances do full justice to both his regal instrument and his majestic material. This recording may not be for the casual dabbler in harp music, but for the dedicated listener Tarbh is a fabulous experience. Find an hour without distractions, and listen to this CD at a level which blocks out everything else - you won't be unmoved.
© Alex Monaghan


Beausoleil "From Bamako to Carencro"
Compass, 2013

www.rosebudus.com

With a combination of classic Cajun, Zydeco and creole blues, bon temps band Beausoleil are augmented by Louisiana French fiddler and crooner Micheal Doucet for their first album on the growing Compass label. Both Doucet and Beausoleil have many recordings behind them. This one spreads its musical net wider than most, sweeping up Caribbean and African music along with the usual shrimp and crawfish. Bamako is based on music from Mali, while Carencro was born out on the bayou. La Chanson de 50 Sous throws in a bit of Latin rhythm, contrasting with the plaintive fiddle and lyrics of Les Barres de la Prison. Doucet and friends are relaxed enough to leave some off-mike moments in, but tight enough to time the swing on Bessie's Blues to perfection. Guests provide that essential Zydeco accordion sound, fitting in with ease to the fiddle and guitar framework of Beausoleil. I'll Go Crazy is closer to French rock'n'roll - Gerry Lee Louis maybe - with rather blunt lyrics, but good fun nonetheless, whereas You Gotta Move is gospel blues with all the Tabernacle Choir trimmings. The final two tracks bring us back to the raw Cajun fiddle sound, complete with metronomic triangle on the waltz Guilbeau Pelican which would do for a mazurka at a pinch. There's even an Irish reel to finish, played in true bayou fashion. A vast range of sounds and styles, all swamp and jungle music at heart, and Beausoleil master them all: From Bamako to Carencro is a true musical gumbo, where you're never quite sure what's in there, and interesting bits keep bubbling up to the surface. Bon appetit, cher!
© Alex Monaghan


Djal "Ex Nihilo"
MusTraDem, 2012

djal.mustradem.com

This Eastern French group has produced a fine second studio album in Ex Nihilo. Djal's blend of the simple modal melodies of central France with the complex rhythms of North Africa and the freedom of jazz is performed with verve and virtuosity, making them one of the premier French folk ensembles. Although they started out as a dance band, most of the material on this CD is for listening - but it's hard to keep your toes from tapping along to it. Djal includes several of the big names in modern French instrumental folk - Milleret, Sacchettini, Banwarth - and their sound is a polished expanse of musical invention. Take Tant de Haine, a catchy title, which interweaves different melodies on flutes, accordions, guitars and gurdy over a back line of bass and percussion. There are numerous themes and motifs packed into a single piece, mixed through its six minutes rather than strung out like beads in the Irish style. The title track is a driving gigue arranged to the hilt, woodwind and reeds providing the melody while the string section buzzes and strums underneath. Claude's Berry takes the traditional bourrée tournante and turns it into an art form. Other tracks show more of a Moorish influence, or passages of cool jazz. Interspersed throughout the album is Quelq, a musical triptych of motion and emotion, dark at the edges but with some light filtering through in the centre. Intense and intoxicating, Djal's music is well worth hearing and Ex Nihilo is another welcome buffet for those of us who don't get to see their live performances.
© Alex Monaghan


Wingin' It "For the Many"
Own Label, 2013

www.winginitduo.com

An award-winning Scottish guitar duo, their debut CD reminds me of Will Ackerman and the Windham Hill label, eighties progressive folk, easy-listening and new-age music, mainly acoustic, drawing on traditions from America and beyond. The cover photos of Scottish mountain tops and US cityscapes say quite a lot about this music: it's a combination of both worlds, but the joins have been blended out, and for Scottish ears it's hard to tell where the American influences stop. Even overtly Scottish titles like Glen Avon, Sidhean Mor and the tribute to the late great Pitlochry piper Lament for Gordon don't break out of the stateside guitar mould. This could be Gordon Giltrap and Colin Reid. Nothing wrong with that, of course: Wingin' It have superb technique, and their music is very pleasant. While Adam Bulley and Chas Mackenzie may be steeped in Scottishness, it does not come across strongly on this album. If it needs a category, I'd pick acoustic Americana over Celtic.
You don't need to categorise it at all, of course. Just relax and enjoy the gentle ripples and occasional bustle of St Lawrence, the lyrical sweetness of Among Us, and the Newgrass drive of Raising the Bar. Chas and Adam are assisted by a host of great Scottish musicians - Ross Ainslie, Ruaridh Campbell, Fraser Fifield and Angus Lyon among others - so there's no shortage of layers and nuances in the arrangements on this recording. A touch of whistle here, a bit of fiddle there, and some very sensitive percussion added to what is still mainly guitar music. Sax and trumpet too, with bass and keyboards in the back line. Wingin' It may get your toes tapping in one or two places - on the oddly named Part III Intro for instance - but for the most part you won't be stirred beyond a gentle nod or a twitch of the fingers. For the Many is enjoyable, laid back, thoughtfully arranged and well played. You may find yourself coming back to it in those rare quiet moments.
© Alex Monaghan


The Chair "The Road to Hammerjunkie"
Own label, 2013

www.lovethechair.com

The fact that this Orkney band records on the Folky Gibbon label probably tells you enough about their music to decide whether it's likely to be your sort of thing. Old enough to remember The Goodies but still young enough to get a kick out of silly names, The Chair (see?) is a seven-piece fiddle and accordion led band playing pretty much Scottish dance music in a slightly berserk Northern Isles style. Think Saltfishforty with fewer vocals, or the Wrigley sisters with chainsaws and a zombie army. There's an air of menace in much of what The Chair produces: The Scariest Room has that dark Nordic edge, as does The Hup Set, and their first song The Hamars O' Syradale comes from the Kris Drever school of murder, melancholy and general mayhem. At other times, these lads settle down for a right good tune: The Humours of Tulla, The Silver Spire and the wonderfulCeilidh Croft is a great set of reels old and new, powerfully played, without any overt signs of madness. The slow reel Keengalee is almost gentle, a beautiful wee banjo and fiddle break which leads into Bob Gibbon's delightful slow air Furmiston Ruby.
A lot of The Chair's music is written by the band and their Orcadian friends. Bob Gibbon, Douglas Montgomery, Brian Cromarty, Gavin Firth and others have composing credits here, and they have also chosen traditional pieces which fit well with the foreboding atmosphere of The Road to Hammerjunkie. It' s good to hear The Dark Maid Reel opening a set which slides gradually into playful chaos before the not too seriously named vocal track Knees of Fire. A touch of Balkan violin presages Armenian, which does exactly what it says on the tin. The final Big Set doesn't mislead either: six minutes of galloping reels, from Sporting Paddy to Roddy MacDonald's Fancy. This album is enormously entertaining in a slightly sinister way, from the front cover to the final chord. Highly recommended!
© Alex Monaghan


Donal Donnelly "Tremolo"
Own label, 2012

www.tremoloband.com

Another Irish fiddler - nothing special, you might think - but this one is emerging onto the scene as a fully-formed performer and composer, with his own band to boot. Donal Donnelly's music is something special too, smooth and powerful, Irish yet cosmopolitan, coolly contemporary without losing those deep roots in the wellspring of Celtic traditions. Sounds too good to be true? If so, you just have to hear this guy for yourself. I'm not saying he's the best fiddler of his generation - but he could be in time. Add in his composing abilitiies, and this is a prodigious talent indeed. The notes to Tremolo include the standard line "All tracks trad. arr. unless noted" - but apart from two Irish reels and one Mexican song (I'll come to that) everything here was recently composed. Donnelly himself takes credit for a dozen tunes - most of the first half of this CD - while piper Stijn van Beek claims three more. Stijn, Karl Nesbitt and Donncha Moynihan are the core ot the Tremolo band, with a couple of guest accompanists and a singer for that Mexican song.
Elva MacGowan sings Mi Sueño, a beautiful piece which is as much a vehicle for Donall's fiddle as Elva's very fine voice.This is only one of several gorgeous slow numbers here. The Hermit, Muzikas, Smileyface and Ciaran's Tune, all Donnelly originals, wring passion from the fiddle like porter from a tap. Elsewhere, swing and fire leap from the strings as Donal sweeps into the dangerous swamp music of Groove Reels or picks up speed for Have-a-Go Hero. His home county is honoured by Tyrone Strathspey, probably an in joke, and he pays tribute to compositions by Scottish composers Jim Sutherland, Jamie Smith and Alasdair Fraser as well as Johnny Og Connolly and the late great Dublin fiddler Tommy Potts. It's all good, most of it is better than good, the uilleann pipe duets are glorious and the accompaniment generally is inspired. I can't think of any obvious way to improve Tremolo, except to make it longer. Look out for it, and for Donal Donnelly's future projects.
© Alex Monaghan


Moxie "Extended Play" [EP]
Own Label, 2013

www.facebook.com/Moxiemuso

Not a bad name for an EP, and not a bad EP at all. Moxie is an instrumental quintet from the Sligo/Limerick area, formed in 2011 by a couple of banjo players, a couple of box players, and a drummer. They don't have a website, but they do have facebook and other social sites - google them, Moxie or Moxiemuso, and you'll find they have quite a following. Some of them are still at school, but their music is mature and professional - if a little too fast at times! The beautifully designed EP cover doesn't have a lot of detail, so it's hard to know who's playing when, but the level of technical skill and musicality is seriously impressive on all four tracks. There are a couple of the band's own compositions and one by Irish American boxman Mick McAuley, as well as several older Irish reels and jigs. The most surprising inclusion is Giles Chabenat's Les Poules Hupées, a great melody but somewhat removed from the Irish mainstream. I enjoyed every track, from the gentle brilliance of Elixir's Waltz to the space-age crescendo of The Spike Island Lasses. This is only a taster, but it's thumping good high-energy music throughout, in the wake of Beoga or Buille. I'm looking forward to much more from Moxie.
© Alex Monaghan


Garry O'Meara "Pickin' Time"
Own label, 2013

German CD Review

www.garryomeara.com

Time was when you could claim to be a banjo player as long as you could sound like rain on an old tin roof: you just had to stop when everyone else stopped. Then the bar was raised by a series of players from McKenna to O'Connor, and today's young pluckers need to do a lot more to make a name for themselves. Given this high standard, there is a surprising number of rising banjo stars around: Kelly, Healy, Maloney, O'Kane, Harvey, Kelliher and more. The latest to come my way is Garry O'Meara, who cut his touring teeth with Ragùs and has now produced a solo CD of banjo music old and new. O'Meara is clearly gunning for Gerry O'Connor's spot in the pecking order - still the gold banjo standard after two decades - and at times he sounds more like O'Connor than O'Connor himself. The opening bars of the title track, one of Garry's own compositions, seem to cme straight from the intro to Colours on O'Connor's latest album. O'Meara has the same crossover repertoire between Irish and bluegrass which O'Connor popularised, and the Jerry's Beaver Hat set of jigs could as easily be called Gerry's Banjo Hat. Nothing wrong with any of that, and in fact it's great to have more players in the superlative O'Connor style. O'Meara has a way to go yet before he knocks Gerry off that top perch - his timing and feeling for the rhythm of the tune isn't quite as fine, his technique isn't quite as flawless - but time is on the youngster's side.
O'Meara's blend of Irish and American includes some funky frailing as well as plenty of those virtuoso riffs and variations which characterise Stateside banjo. Box Room Fantasy is a modern reel with attitude, while Flying High reminds me of Chris Thile in its almost classical sweep of melody. Princess Brenda is one of those rare and precious banjo slow airs, not so diffferent from O'Connor's Time to Time, very atmospheric with droning synthetic didge and gentle guitar. Stealth is more traditional, a minor slow reel, but with an almost rockabilly backing. All these pieces are O'Meara's own, and his ability to place his music anywhere between Nashville and Nenagh made this Dubliner an obvious choice for the Brock McGuire Band, who took him on board last year. This recording also amply demonstrates Garry's traditional credentials, with Tommy Peoples' Reel, Jackie Coleman's Reel, Josie McDermott's Reel, and just for a change Arthur Daley's Jig to finish. There's also a traditional American number, the classic Good Ol' Mountain Dew, performed by showman extraordinaire Frankie Lane in a style which he calls "Wahoo!" - a rare treat, and let's keep it that way. Reels and redneck music, jigs and jive, more licks than a lollipop convention, and plenty of fine guests: Pickin' Time is one heck of an album, and a clear notice of intent by Garry O'Meara to become the finest picker in town. Watch your back, Mr O'Connor!
© Alex Monaghan


Canongate Cadjers "Open With Care"
Brechin All Records, 2013

www.canongatecadjers.com

What makes this group a ceilidh band? The generally accepted criteria are a good dancing rhythm, a bit of lift, a slightly less metronomic beat than country dance bands, and maybe some non-standard instrumentation. By these measures, the Canongate Cadjers are a fine example of the breed. Edinburgh audiences seem to agree, as they are one of the most popular bands in the capital. Led by champion accordionist Alex Ross, this seven-piece outfit has pretty much the standard Scottish configuration of two accordions, fiddle, bass, drums and piano, plus an occasional mandolin and a bit of electronic jiggery-pokery. Open With Care is their first CD as far as I know.
With more than a full hour of music, there's a wide variety here. Reels, jigs, marches, hornpipes and waltzes for danicing are mixed with listening tracks such as Music for a Found Harmonium, Reel de Beatrice, a couple of medleys and some excellent slow airs. Alex Ross contributes half a dozen of his own creations, and many other contemporary composers are featured, from the piping and fiddle communities as well as the Scottish dance band world. Some of the more familiar melodies come with unusual variations, evolution in action I suppose. If there's a fault with this CD, it's that some of the tracks are a little slow for the more energetic dancers - not a common failing among ceilidh bands, so I probably shouldn't complain! There's also no guidance on which dances fit which sets of tunes, so you'll have to work that out for yourselves. Otherwise, Open With Care is safe to handle, not particularly explosive, but highly enjoyable.
© Alex Monaghan


Ducie "Mancunia"
Own Label, 2013

www.duciemusic.com

A Manchester band (the title is a hint), Ducie blend Irish fiddle with world and jazz sounds. Blend, as in the art of combining spirits to produce an appealing flavour. Ducie's eclectic approach works well, giving a freshness and energy to their music without losing the Irish core or dumbing down the other elements. Built around the fiddle-guitar duo of Andy Dinan (Toss the Feathers, The Bad Shepherds) and Ian Fletcher (Toss the Feathers, Mike McGoldrick Band), Ducie has added bass and percussion to make a four-piece band, as well as several guest musicians who bring diverse influences to this recording. Take Lusignac for example, the second track on Mancunia. It starts off with Spanish-style percussion, adds Flamenco guitar, and then the fiddle comes in playing a French waltz written by Englishman Chris Wood. An improbable mixture, but Ducie pull it off - with a little help from McGoldrick's flute in this case.
The opening track is similarly cosmopolitan, with Parvinder Bharat's tabla introducing the traditional Irish reel Dr Gilbert's. Fletcher's guitar bravely keeps up with Dinan's fiddle on challenging melodies, and throws in a blues break before finishing with Sully's Number 6. The Manchester vibe is never far away - a 4/4 take on McGoldrick's signature Roaring Barmaid (another Sully tune), a few originals from Ducie composers, and an Indian experience on Mumbai Highway. In between is a long rake of traditional Irish tunes taken to town: a Paddy Fahy hornpipe which apparently has its own title The Lone Bush, a sultry slow air Song of the Strings sourced from fiddler Brid Harper, and many fine jigs and reels. Dinan's fiddling is smooth and muscular, fronting a full polished sound from a back line which moves from Galicia to Cuba and back to Ducie Street. With cameos on flute, box, harp, bouzouki and more, there's a lot to take in here. Mancunia is still revealing new facets on my fourth or fifth listening.
© Alex Monaghan


Sylvia Platypus "Sylvia Platypus"
Own Label, 2011

www.sylviaplatypus.com

Named after the morbid modern poet and oviparous antipodean mammal, Sylvia Platypus is a six-piece mosaic of glam-rock, blues, punk, country, and bagpipes. Especially bagpipes - Scottish and Irish - which are the defining element of the instrumentals here. Based in Pennsylvania, with its Gothic overtones of vampires and orthodox Judaism, the band's appearance is somewhere between stylish undead and vintage unwashed. Six tracks span everything from Mick Jagger to Melusine, drum'n'bass to delicate dulcimer. There are touches of French folk, new-age mysticism, and good old-fashioned bedlam. It all makes for great entertainment, perhaps towards the end of a solstice party, or the second night of a cider festival. Every track here finishes too soon for me: there's no shortage of musical ideas, no long lead-ins or tedious tail-offs, and the themes could easily have stretched a little further. Maybe they do in the live act.
Opening with Like a Vampire, vocalist Janet Bressler has a powerful husky voice and a graphic taste in lyrics. She had a hand in composing four tracks here, with piper Charlie Rutan and other band members sharing the credits. The remaining two numbers are the traditional Raggle Taggle Gypsies, and the Rolling Stones polemic Paint it Black which resonates well with Plath's poetry. Bagpipes suffuse every track, and all but the final Pass the Tankard, Wench feature Bressler singing or speaking. Hush Now is delivered in a soothing whisper, deliberately almost drowned by the pipes. The Seagull combines tin whistle with wordless song before the Irish bagpipes keen a celtic lament. Guitars, bass and percusion round out the sound, but the music of Sylvia Platypus is defined by pipes and vocals. It's appropriate, then, that the cover is done in an approximation of the bright yellow MacLeod tartan worn by those who don't know there is a green alternative. On this garish field lie a platypus, a set of highland pipes, and a complex doodle which could be anything but is probably a human heart. Anyway, it's what's on the inside that matters. And of course, if you download it, you don't even have to look at the cover. Go on - give it a try!
© Alex Monaghan


Talitha Mackenzie "Spiorad"
Sonas, 2012/1996

www.talithamackenzie.com

This is a re-release of a 1996 album, with one added bonus track. I have not had the opportunity to listen to the original album, and am now very pleased to discover this album now. New York born singer Talitha Mackenzie has specialised in Gaelic language world music, and - while I have heard other albums of Talitha - I find that "Spiorad" is a real relevation.
There are many different sounds to this album. Gaelic is the prime element of the album - quiet Gaelic laments and love songs with minimal instrumentation and full of calm beauty, more up beat waulking songs, folk rock reminding me of some of the Capercaillie material, and even a Gaelic song with Carribean world music influences. I am most impressed and surprised though by the one French and one Serbian song, stylistically most reminiscient to me of Finnish folk pop a la Sari Kaasinen.
A fine album indeed.
© Michael Moll


Rod Sinclair Band "Seascape - Wadden Sea Songs"
Go Danish Folk Music, 2012

www.rodsinclair.com

A CD celebrating this unique coastal mud flat landscape of the Wadden Sea, with music commissioned for the inaugaration of the Danish Wadden Sea National Park. All songs, most in English but two also in Danish, are written by Scottish Ex-pat Rod Sinclair. The English songs are sung by Rod, the Danish ones by Jullie Hjetland. There are a few real master pieces of songwriting which would alone justify the purchase of this album - "Silver Harvest" and "Dykers" are impressive ballads, and "Countless" beautifully reflects what the wadden sea is about. The remaining 5 songs of this very short (less than 30 mins) album are pleasant enough but not outstanding.
© Michael Moll


Hadrian's Union "In your own time"
Fellside Recordings, 2012

www.hadriansunion.com

I have never heard of these Northern English musicians before, but Hadrian's Unions' CD is well worth a spin. Stew Simpson's songwriting (all songs on the album are written by him) is contemporary in style, and this along with his singing and guitar playing is not bad. But what makes the songs on the album really special is the match that Stew has found in fiddler Danny Hart, who skillfully weaves lively and driving fiddle playing into the songs. While Danny also plays mandolin and guitar, the music really come to life when he takes to the fiddle.
© Michael Moll


Ceolbeg "Collected"
Greentrax, 2013

German CD Review

Ceolbeg were one of the greatest Scottish bands of the 1990s, thus this collection of 16 songs of their history is a most welcome release. Founded in the late 1970s and disbanded in 2003, the band produced six albums, all of which are represented on this album.
The absolute height of the band's career was no doubt the period with the late superb singer Davy Steele, and some of his greatest songs are represented here (inclduing "Farewell tae the Haven", "See the People Run", "Johnny Cope", "Here's a Health to the Sauters"). Following Davy's departure from the band, singer Rod Paterson joined the band for another two very good albums. Instrumentally, the album showcases both the band's unique folk rock tunes featuring bagpipes, drums and harp, as well as the quieter side of the band focussed around the beautiful harp playing of Wendy Stewart.
One of the great albums of the band, "An Unfair Dance", is now deleted which is a shame; hopefully in the age of digitalisation this album may become one day available again as a download?!?
The album is dedicated to founder member and only band member throughout its history, Peter Boond, who sadly passed away earlier this year.
© Michael Moll


The Paul McKenna Band "Elements"
Greentrax, 2013

German CD Review

www.paulmckennaband.com

The third album of the brilliant Paul McKenna Band may well be the best, following two great and widely celebrated previous albums. "Elements" is again clearly focussed on songs - a mix of traditional and contemporary ones - all of which telling stories that go deep. Paul's fine Scots singing comes with strong yet simple instrumentation (guitar, bouzouki, Flutes/whistle and bodhran/percussion). The one instrumental set on the album lets the skills of the musicians fully shine, yet it is also in the songs that combination of a good singer and highly talented musicians that makes this band stand out.
As with previous albums, the highlight of "Elements" is a self-penned song by Paul - "Lonely Man" is a beautifully crafted song with highly relevant lyrics about a lonely old man looking back on his life. This young man has incredible songwriting skills, as well as a golden hand when it comes to choosing songs for the band repertoire.
This album confirms the Paul McKenna Band as most impressive band to come out of Scotland in the last decade.
© Michael Moll


Fleadh "The Cleggan Bay Disaster"
Own label, 2013

www.fleadh.de

A fine German Irish band, featuring German instrumentalists and Irish ex-pat Saoirse Mhor. About half of the album's title are songs, the other half tunes. The tunes sound fresh and have a good full sound, with guitars, fiddle, banjo/mandolin, uillean pipes/low whistle etc. Most of the songs are written by Saoirse Mhor, contemporary songs with an Irish trad flair about them - highlight being the title track of the album, somewhat reminiscent of Christy Moore material, with a great tune and good lyrics telling the tragic story of 44 fishermen lost to the sea. The other songs don't quite live up to that standard but are still solid.
Plenty to enjoy on this album.
© Michael Moll


Tradish "Roots and Shoots
Go' Danish Folk Music, 2013

www.tradish.dk

A mix of traditional Irish music and contemporary songwriting of the Danish-English trio, featuring John Pilkington, Louise Ring Vangsgaard and Brian Woetmann. There's some very nice musicianship on fiddle, guitar/bouzouki and bodhran/percussion/stepping, and all three are decent singers. Many of the songs are written by John or Brian, and most of the tunes are trad Irish. The sound of this CD is refreshingly distinctive, but still with that familiar Irish trad flair to it.
© Michael Moll


I Cantunovu "U porto ro munno"
Own label, 2012

www.cantunovu.it

This Sicilian band's sound is quite unique and I find spellbinding. The 9-piece band manage to create superb sophisticated musical arrangements particularly on fiddle, accordion and flute. These drive beautiful and memorable melodies with earworm character which are beautifully woven around powerful singing. 10 magnificent songs which skillfully bridge Southern Italian folk tradition with contemporary flair. A real favourite of mine.
© Michael Moll


I Cantunovu "Petra Janca"
Own label, 1998

www.cantunovu.it

Unfortunately I can’t find any English background on the group, as far as I understand the band comes from Sicily and they play traditional inspired music with touches of soft-rock and jazz. The album sounds dated and would have been more actual and interesting at the date of release. The play is simple with occasionally some nice twists, but also with some unbalanced parts. I would be much more interested to hear recent works of this group to hear how they developed and how they sound now, today in 2013.
© Eelco Schilder


Jussi Reijonen "Un"
Own label, 2012

Kaulakau & Cobla Sant Jordi "Mare uut"
Discmedi, 2013

Maria João & Mario Laginha "Iridescente"
Universal, 2012

Bachar Mar-Khalifé "Who’s gonna get the ball from behind"
Infine Music, 2013

German CD Review

www.jussireijonen.com
www.kaulakau.com
www.coblasantjordi.cat
www.mariajoao.org
www.mariolaginha.org
www.bacharkhalife.com

Jussi Reijonen is a Boston based, Finnish guitarist and oud player and Un is his first solo album. Together with his quintet on piano, bass and percussion and with the help of guest vocals and a guest Qanun player. Except for Coltrane’s composition Naima, all compositions are self-composed. With a light, sparkling sound Reijonen and his quintet bring a friendly mixture of jazz and Arabic orientated roots music. Nicely played, strong compositions and professional musicians. A well-produced album with easy going, sometimes exiting, music. A strong debut which shows a big promise for future release.
Kaulakau & Cobla sant jordi is cooperation between two Catalan groups. In 2008 Kaulakau recorded one of the best records in that year and now they are back together with the Cobla sant Jordi group from Barcelona, who celebrates their 30th anniversary this year. This collaboration results in a fine album with seven new compositions. The fifteen musicians blend traditional themes with melodic jazz and brass. Intriguing compositions that explore the borders between tradition and modern arranged acoustic music. It’s powerful, rhythmic music but sophisticated at the same time. Great for lovers of the more melodic folk-jazz, played by a bunch of great musicians.
From Portugal comes the duo Maria João & Mario Laginha. These two know musicians have been recorded many songs together and on this new album eight new compositions, almost all by Laginha. Together with three backing musicians on harp, accordion and percussion, the duo created a wonderful new album. The airy, slightly husky voice of João demands full attention from the moment she starts singing. She shows to be in control of a variety of vocal styles. From jazz, to chanson or more Caribbean styles sounds to a free styled kind of singing. Backed by a great piano, strong accordion and percussion. The harp is lesser obvious in the music, but essential when played. An intriguing album for lovers of well played roots-jazz with a feeling of freedom and creativity.
Thirty years old Bachar Mar-Khalifé was born in Beirut, lived and studied in Paris and releases with Who’s gonna get the ball from behind his second album. With his beautiful vocals and well trained piano play, this composer/musician takes the listener on a journey through the middle-east, Europe and other places. Visiting jazz café’s, hip hop clubs and places where styles and sounds are not named yet and creativity rules. Intriguing album with a variety of sounds and ideas, but Mar Khalifé never loses control and know how to keep the red line throughout the album. Intriguing album for sure.
© Eelco Schilder


Gansch & Breinschmid "The End"
Preiserrecords, 2013

Big Papa and the TCB "Six pack of cool"
Own label, 2013

www.georgbreinschmid.com
www.bptcb.com

As always a bunch of short jazz reviews starting with the duo Gansch & Breinschmid. This duo on trumpet, bass and vocals play thirteen, mainly, original compositions live in Vienna. Fine play, strong compositions with a mixture of jazz styles. Besides their own compositions they play Wagner and mix Strauss with the Beatles. Not for folkies, interesting for jazzies, it’s well played!
The next album comes from the USA and is by Big papa and the TCB. Their new album called Six pack of cool contains thirteen new recordings and will be a real treat for lovers of honest blues-jazz rock. With his nice voice singer Thayer and his five fellow musicians on sax, trumpet, piano, drums and bass will show you a really appealing mixture of edgy blues, jazz and rock. Uncomplicated album with the right atmosphere by a great band.
© Eelco Schilder


Cass Meurig & Nial Cain "Oes I oes"
Own label, 2012

www.cassmeurigandnialcain.bandcamp.com

The Welsh duo Cass Meurig and Nial Cain earned their reputation in Welsh traditional music. Both been part of a few great bands and now their new album as a duo has been released. Ten traditional songs, all arranged by the two musicians. Their interpretation of the old songs has a pleasant kind of purity. The beautiful, calm female vocals are in perfect harmony with the sparkling guitar play and the melodic violin. These two musicians know how to get to the essence of a song and without adding any additional flavours they show the beauty of the Welsh tradition music in all its natural strength.
© Eelco Schilder


Riccardo Tesi "Cameristico"
Materiali Sonori, 2012

www.riccardotesi.com

For more than thirty years the Italian diatonic accordionist Riccardo Tesi is at the top of the worldwide folk music scene. With many (solo) releases he is an example for many young musicians all over the world. This latest album contains a collection of new compositions and a few older ones which he interpreted in a new way. Together with three great musicians on clarinet, violoncello and piano and several guests, Tesi recorded a relaxed album. With a jazzy edge he and the musicians show the quality of his compositions and they take the time to really show the essence of the songs. Tesi sounds calm and fully in control. One of his more introvert albums, an album that forces to listen and admire.
© Eelco Schilder


Afenginn "Lux"
Westpark, 2013

www.afenginn.dk

Just over ten years ago Afenginn was formed in Copenhagen and now, five albums further, the group is probably one of the most appreciated Danish folk related band. The quintet plays eleven new compositions by Mandolin played Nyberg and together with guest musicians on marimba, vibraphone, percussion, trombone and piano, they create a friendly, accessible kind of acoustic folk-jazz. On this fifth album they show their quality as professional musicians and their capability of creating a united, well balanced sound. They take their time to unfold the beauty of their music and it takes time and concentration from the listener to reveal all the different layers of the compositions. An intense, well played album by one of Denmark’s best kept secrets.
© Eelco Schilder


Ethnofil "Fülön Csip"
Own label, 2011

Assai & Peter Stan "Balkan Tales - Out of Beograd"
GP Arts, 2013

The Lemon Bucket Orchestra "Lume lume"
Own label, 2012

Tsigunz Fanfare Avantura "Live@meskalina"
Own label, 2012

www.ethnofil.hu
www.lemonbucket.com
www.tsigunz.pl

A bunch of albums from several Balkan countries starting with the Hungarian folk-rock band Ethnofil and their debut album called Fülön Csip. The quartet mixes traditional themes mainly, with a central role for the violin, with jazz, reggae, smooth beats and electronic sounds. Sometimes a bit raw and uncontrolled, on other moments surprisingly subtle and gentle. Straight forward folk-rock, a nice debut but the group also needs time to develop a more own style and identity. Now they stay close to the fusion type of music many groups from every corner of the world create. Nothing wrong with that, it shows their potential and hopefully they keep on experimenting and they will cross borders other groups often don’t dare to cross.
The second album comes from a band called Balkan Tales and is called Out of Beograd. It’s a cooperation between accordionist Peter Stan and the band Assai and in a virtuosic way the five musicians combine Balkan, gypsy, klezmer with classical theme’s, jazzy sounds and influences from other (worldwide) traditions. It’s an album like a hurricane, in an intensive, sometimes almost wild way, the musician don’t leave the listener much choice than to surrender and let the furious music take over the brain and body. Here you hear five musicians that know how to play with passion and create a wonderful atmosphere and some great music.
The Lemon Bucket Orchestra is a big band from Canada performing upbeat Balkan-Gypsy brass music. This Lume lume is their first full length album and contains a mixture traditionals from all over Eastern Europe and original compositions. It’s full speed ahead for 12 tunes long. Well played, happy and with the right vibe. They don’t try to renew the music, but just make fun and play the party-suitable-tunes in an accessible and energetic way. Great for those who like a brass album now and then, the diehards might be searching for a more outspoken interpretation of the style.
The Polish septet Tsizunz Fanfare Avantura does take the brass styled music into another dimension. They focus on the melodic character of the songs and instead of speeding, they often slow done to make sure the essence of the melody gets revealed to the listener. With a bit dark, underground sound the melodies have an almost hypnotising character. I like the bit raw, unpolished sound. The songs form a kind of druggy trip and change my living room into a dark Polish bar with a bunch of talented, passionate musicians who slowly bewitches their audience with their well-arranged music.
© Eelco Schilder



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