Juha Kujanpää "Goldwing"
Eclipse Music; 2015
Äl Jawala "Hypnophonic"
Own label; 2015
Two albums where there is a trace of folk music but where the music takes on its very own life and style.
Juha Kujanpää, Finnish composer and keyboard player, blends with his ensemble progressive rock with Finnish folk and other music influences, including classical - but the rock element dominates most. The press blurb compares his style with Mike Oldfield and early Genesis, and this is probably not too far fetched - instrumental melodic rock music with distinctive roots elements. The ensemble features a whole three fiddles, ensuring the Finnish folk flavour. Otherwise, beyond Juha's keyboards, the band features superb rock guitars (including electric), bass and drums.
From Finland to a band from France and Germany, and Äl Jawala's blend of music is even more difficult to pigeonhole. There is a strong world and gipsy music, particularly Arabic and Eastern European, flavour in their music, combined with a lot of dance beats and some rap and hip hop as well as more ethnic sininging. All this arranged with attractive groovy sax and brass plus rock line up. The album features guest singers from Germany (singing English), Jerusalem and Guinea. Some of it I love- particularly the songs in English language such as "Be anybody" or "Intergalactic Medusa"; but other tracks, such as those with a more dominant hip hop element, are less my cup of tea.
Rob Harbron & Emma Reid "Flock & Fly"
This duo brings together two brilliant and renowned players: Rob Harbron is a rare master on the concertina and famed, among others, as a member of wonderful Leveret and now already a few years ago, of Dr Faustus; fiddler Emma Reid is known from a number of collaborations with British and Swedish players. Having grown up in Northern England but with a Swedish mother, Emma is musically (and linguistically) bilingual in Swedish and English, playing masterfully the fiddle in both styles. Ballad of Crows "Ballad of Crows"
An album of Folk pop ballads with Americana influences, sung by Scottish singer/songwriter Steve Crawford. Most of the songs are written by either Steve, Davy Cattanach (who doesn't appear on the album) or Steve Coutts (who plays mandolin on the album); plus Tom Petty's "American Girl" and Tim O Brien's "Brother Wind" song. Most of the music is based on guitars and mandolin, with a few appearances of fiddle, accordion or flute. This pleasant listening, with good quality and accessible lyrics.
Ballad of Crows "Ballad of Crows"
The two Scotsmen Steve Crawford (guitar, vocals) and Pete Coutts (mandolin, vocals) have been working together in different projects for 20 years. Now they bring in the German multi-instrumentalist Sascha “Salossi” Loss (guitars, upright-bass, sansula, fiddle, vocals) to record their debut album featuring some brilliant guest musicians.
Steve Crawford & Sabrina Palm "In Balance"
Steve Crawford is a Scottish singer, songwriter and guitarist from Aberdeen
who plays with the band Ballad of Crows (see review above).
Sabrina Palm is a German fiddler from Bonn who had turned to
traditional Irish music and recorded with the groups Whisht![35]
and the Reel Bach Consort.[40]
Only recently she became the first German to complete the teaching diploma for Irish Traditional Music in Dublin.
Hers is the flawless and powerful execution of jigs (e.g. Liz Carroll's "For the Love of Music"),
reels (a striking set consisting of Dutch piper Stijn van Beek's "Broken Doll", James Scott Skinner's "Gladstone" and
fiddler David Doocey's "Tatnuck Magnet"), a slow air ("My Bonny Laddie Has Won My Heart")
and a 5/8 tune from Danish fiddler Harald Haugaard ("Ljubljana"),
including a couple of Sabrina's own compositions such as the "Empty Again" an dro and the fittingly titled "Session Night" jig,
supported by Old Blind Dogs fiddler Jonny Hardie and uilleann piper Jarlath Henderson.
These dance sets are played alternating with a varied selection of old ballads ("Mill o'Tifty's Annie", "Bonny House of Airlie")
and new songs (the original "Hope Remains" and Davy Cattanach's "Oh My Lover").
"Twa Corbies / Rabenballade" is a lovely mash-up of the well-known Child ballad and a German language version.
Steve Crawford has a smooth and seducing voice which draws the listener into every tale.
So not only words and music are in balance but an entire album dedicated to Scottish music and beyond.
Dàimh "The Hebridean Sessions"
While pushing the borders, Dàimh (taking their name from the Gaelic word for kinship) always
stood to their cultural heritage of the Western Highlands and Islands of Scotland.
FolkWorld once called it: authentic Gaelic music with a modern edge.[34][42][52]
With recent line-up changes -
long standing members Angus MacKenzie (pipes, whistles), Gabe McVarish (fiddle) and Ross Martin (guitar) were joined by
Murdo Cameron (mandola, accordion) and Ellen MacDonald (vocals) -,
Dàimh reckoned that it's the right time to revisit their roots and those classic session and dance tunes
they were playing since time immemorial but never put it on any album. Above all,
these are strathspey (or quickstep) / reels sequences, and a jig set thrown in for good measure.
It's music to make you dance, so they recorded three consecutive concerts on the islands of Mull, Skye and South Uist
to capture the live atmosphere and raw energy of a ceilidh.
A female singer is a big departure for Dàimh's previous work.
Ellen MacDonald is a fine addition, who can handle a poignant Gaelic ballad in equal measure as a brisk puirt a beul piece
(mouth music). So ... it's a session album, but it's well worked out and a clean production.
Scott Wood Band "Upsurge"
A talented and powerful young piper, Scott Wood assembled a fine bunch of young Scottish musicians, namely
Mhairi Mackinnon (fiddle), Ron Jappy (acoustic guitar), Angus Tikka (bass) and Mark Scobbie (drums).
This line-up evolved from a seminal EP recorded as a trio in 2012,
"Upsurge" then is the Scott Wood Band's full-length debut album.
Things go off with the first set of tunes, bagpiper Don Bradford's "Spice of Life" and Gordon Duncan's "Pitlochry High School Centenary",
followed by Capercaillie fiddlers Charlie McKerron "Bulgarian Red". Set #2, consisting of two tunes written by Scott Wood,
is rather unhurried by comparison, but the race is on again just a moment later.
The Scott Wood Band likes it lively and fast and they chose to record in a live setting to keep it fresh and raw.
The arrangement and execution of the selected tunes from Mhairi Mackinnon, Martyn Bennett, Mike Vass, Marie Fielding, Allan McDonald, and Scott Wood of course,
draw equally on jazz, rock and world music.
Seamus Sands "Across Bridges"
Irish fiddler Seamus Sands was brought up in Newry on the Down / Armagh border, but lives in Co. Cork these days.
He comes from a long line of traditional musicians, particularly fiddle players, reaching back five generations or more.
Playing a fiddle of his own making, Seamus Sands has adopted a rhythmic but relaxed style with a favour for minor keys.
Lasting influences have been artists such as Con Cassidy, Paddy Canny, Bobby Casey, Junior Crehan, Ben Lennon and Josephine Keegan.
His debut album "Across Bridges" is unaccompanied solo fiddle playing, no more no less.
Seamus felt: “I play most of my music at night in the kitchen, with nothing but the accompaniment of fiddle shadows on the wall … it is
music to relax and unwind to, music for mind and soul, and music to reflect on. This, my first solo recording gives an ear
to some of that music, and includes some tune forms, versions, and rhythms that perhaps wouldn’t usually find a voice in most music sessions“.
The tune selection includes some unusual versions of well-known melodies as well as old ones from manuscripts which have
never been recorded before. Seamus Sands himself composed the sparkling "Silvery Bar" reel.
Besides the commonplace jigs, reels and hornpipes, there's also barn dances, set dances, highlands, and three familiar slow airs,
strikingly executed. Altogether a fine album that bridges centuries and counties.
The Hernons "A Musical Journey from Connemara to Sligo"
The excellent accordionist PJ Hernon was born into a musical family in Carna, Connemara,
but has lived in Gurteen, Co. Sligo for over 30 years.
PJ had been a member of both the Shaskeen Céilí Band and the Swallow’s Tail Céilí Band.
On this recording, PJ is united with his sons Domhnaill (fiddle) and Séamus (flute).
It doesn't show that the three only two or three times a year get and play together (the annual December concert at
the Coleman Heritage Centre for example);
the musical understanding is mutual. When the three Hernons officially launched this CD in September,
it was both a joyous and solemn affair, because Domhnaill was about emigrating to America.
So this Musical Journey from Connemara to Sligo is the only chance to hear the trio for some time.
Their special rendition of Connemara and Sligo music embraces a lot of things from "Bag of Spuds" to "Young Tom Ennis",
more reel sets than jigs, plus the odd hornpipes and a haunting air, the popular "Anach Cuain".
I don't like to call it a legacy, though a preliminary it surely is,
because it is so fresh and smart.
Oisín & Conal Hernon "Across the Sound"
Oisín and Conal Hernon from the Aran Island of Inis Mór off the west coast of Ireland are musical prodigies.
Almost a decade ago, the two brothers recorded their debut album "Up and Coming / Ó Ghlúin go Glúin",
featuring their mother Marion and their now late grandfather Michael Craven tackling a selection of classic Irish dance
tunes.[37]
Their follow-up album "Across the Sound" now is different from its predecessor, insofar as all tunes have been exclusively
composed by Oisín and Conal. Rhythms and melodies are deeply rooted in the West of Ireland, but there is something cool and crisp
that reaches across the sound between the Aran Islands and the mainland.
The album starts with Oisín's very first composition, the reels "An Chead Siol".
There's not only jigs and reels, but attempts on a march, a polka, a barndance, a hornpipe and a waltz as well.
It is not obvious that these are recent compositions, so Oisín and Conal really can be proud that Tara Breen (fiddle)
and Tommy Keane (uilleann pipes) studied and played their tunes supporting Conal's banjo and Oisín's accordion.
There's also bass and percussion, making the sound even bigger.
After the last track of the album, I immediately want to play it again.
And the tune titles are so telling: "Endless Gig", "Across the Sound", and eventually "Happy Hour in Inis Meain".
Bríd Harper "Bríd Harper"
No, Bríd is no harpist though this would be droll, but a no-nonsense traditional Irish fiddle player.
She was born in Castlefinn, Co. Donegal, but is now living in the vicinity of Dungannon, Co. Tyrone.
She has won a couple of All Ireland titles and is currently studying Irish Traditional Music Performance
at the University of Limerick. Bríd is a highly respected traditional fiddle teacher, who has
done guest performances on a couple of recordings, but never recorded under her own name until now.
Besides some familiar ditties including the air "Edward on Loch Erne's Shore", she selected
tunes from fiddlers Charlie Lennon, Tommy Peoples and Jerry Holland, to name but a few.
Bríd turned the "Maid of Mount Cisco" reel into a polka, and her original and quite unusual "Road to Hughie's" hornpipe
is musically following the contour of the road from her house to where local fiddler Hughie Hetherington lives.
It is an interesting thing that she likes to combine different tune types and change rhythm and pace within one set.
The opening set of reels is introduced and unexpectedly wound up by the song tune of "Flower of Sweet Strabane" (Bríd grew up near
this town in Co. Tyrone). The march "Bo Mhin na Toitean" moves into the "Tartan on the Heather" strathspey,
turns into "Johnny Boyle's Jig" and reverts into the "Atlantic Roar" hornpipe.
The mood alternates between expressive solo outings and powerful group performances, her fiddle melodies supported
by the stellar cast of Dermot Byrne (accordion), Brona Graham (banjo) and PJ McDonald (whistle)
and backed up by guitarists John Doyle and Seán Óg Graham, bass player Trevor Hutchinson and bodhrán player John Joe Kelly.
Jason O'Rourke "The Northern Concertina"
London born Jason O'Rourke originally was playing melodeon for his mum's clog dancing and rock music on the drums.
In the late 1980s, he taught himself playing traditional Irish music on the anglo concertina, back then quite an exotic affair.
He was fortunate though to play jam sessions with the likes of Kevin Crawford and Luke Daniels.
In 1991, Jason O'Rourke came to Belfast. Here everything fell in place and he developed his particular
straight-forward and punchy style of playing on his Jeffries C/G and Bb/F concertinas.
He has been involved in various projects and is hosting the Tuesday session at The Errigle Inn on South Belfast's Ormeau Road these days.
15 years after his debut recording, "The Northern Concertina" is his new solo album.
Jason says in the CD's liner notes that “the concept of the The Northern Concertina was not intended to describe a prevalent
style of concertina playing in Belfast or the North of Ireland, where styles and influences differ widely. Rather, it was intended to
describe my playing, which I would like to think would be recognisable for its simplicity, power, and rhythm, the legacy of playing
for dancing since I was a small boy. For me, the latter two elements, power and rhythm, reflect some of the characteristics of
Northern Music.” Rather surprising, jig sets prevail in number over reels, there's also a polka and a Scottish march.
Jason took his liberties, he turned fiddler Andy Dickson's reel "A Short Walk from Home" into a hornpipe and "Sporting Paddy"
into a slide, and put some tenor saxophone behind two continental mazurkas. Further support comes from Teresa Clarke (fiddle, piano) and
Tim Edey and Stevie Dunne (guitars) creating a solid sound. He named an original slide "To Hell with Austerity" because he said
to a politician once: “To hell with austerity - we'll write, and play tunes, and dance like we always did.” And that's what
Jason does - resolute and determined.
Ciaran Algar "The Final Waltz"
Ciaran Algar is a young English fiddler (playing guitar, banjo and bodhran as well), who is deeply rooted
in the traditional music of Ireland. He is best known for his duo work with Greg Russell,[49][56][58]
"The Final Waltz" is his debut album under his own name. However, he has created a band to both record the album and go on tour in 2016,
consisting of Toby Shaer (flute), Sam Kelly (guitar), Giles Deacon (keyboards) and Eden Longson (drums).
The presentation is up-to-date, inspired by many different music genres and styles.
"The Final Waltz" is featuring Ciaran's favourite tunes that he has memorised over the last decade,
including classics such as "Morrison's" and "Killarney Boys of Pleasure" and recent compositions from
Ed Reavy and Jay Ungar.
Flutist Toby Shaer penned "Josh's Slip" jig and Ciaran himself turned his attention to writing songs.
A surprising move that became a winner.
He traded vocal duties, however, to Sam Kelly of The Changing Room,[58]
the Britain’s Got Talent participant who turned his attention to folk music.
After all, this surely isn't Ciaran's final waltz but his basic and fundamental move.
Fay Hield "Old Adam"
In recent years, Yorkshire born singer Fay Hield has made a name herself on the English folk circuit. Her debut album
"Looking Glass" made many sit up and take notice of a new voice in the line of Maddy Prior or June Tabor.[43]
The follow-up "Orfeo" saw Fay assembling a first-rate backing band, The Hurricane Party.
Recently Fay Hield, who is lecturing Music at the University of Sheffield,
initiated The Full English project, compiling a comprehensive database of folk songs, tunes and
customs.[53]
A step back in time but an artistic and creative move forward
is her third solo album "Old Adam" (named after the ancient lyrics with the famous line when Adam delved and Eve she span, who was then the gentleman?
set to new music by Jon Boden). Many old lyrics have been adapted
to tell 14 complete stories. For example, "Green Gravel" is a well-known playground song put to a new tune,
with bits and pieces taken from the many versions and variants. Besides classics such as "Raggle Taggle Gypsy" and "Go From My Window",
Fay put new life into Rudyard Kipling's poem "Anchor Song" (tune by Peter Bellamy), and Tom Waits' trad-inspired
"The Briar And The Rose," originally written for a play based on the German folktale Der Freischütz.
At times exuding a meditative feel, at other times
achieving the vigour of Steeleye Span, though in a more acoustic setting.
The Hurricane Party, featuring fiddler Sam Sweeney and
concertina player Rob Harbron, and special guests such as her partner Jon Boden and Martin Simpson on guitar
create a gale-force wind while Fay Hield endures in the proverbial eye of the storm.
Thus Old Adam becomes the new man after all.
Antóin MacGabhann "Tunesmith"
Irish fiddler Antóin Mac Gabhann originally hails from Mullahoran, Co. Cavan, but moved to Ashbourne, Co. Meath in 1974.
He started on the fiddle at age eleven and won all the major fiddle competitions.
While at school in Dublin in the 1960's, he played with the Green Linnet Ceili Band.
These days he mainly plays in sessions, though he has recorded an album with banjo player Mick O'Connor in 2009,
"Doorways and Windowsills".[44]
The album's title is somewhat misleading, though it is kicking off with the original reel "Millenium Céilihouse".
Antóin has also composed a lively jig ("Rós Bhaile Trasna") and a haunting slow air ("When Days End Is Done").
The featured jigs and reels, however, are mainly traditional, with the occasional Charlie Lennon barndance,
Vincent Broderick jig and Ed Reavy set of reels thrown in for good measure. His daughters Aine and Caitlin Nic Gabhann
also account for a tune, respectively.
Antóin's performance is cordial and copious. Charlie Lennon, a traditional Irish fiddler in his own right,[34]
on the piano brings life to the rhythms and melodies Antóin MacGabhann has so carefully selected and beautifully executed.
Frankie Gavin, Malachy Bourke & Brian Bourke “When I was given a tape of Paddy Killoran as a child, the penny dropped,” says Malachy Bourke.
“The music was beautifully raw and wild. This was the music I wanted to play.”
Sligo born fiddler Paddy Killoran (1904–1965) emigrated to New York in the 1920's,
where he launched a successful career as a recording artist and band leader. Alongside fellow fiddlers James Morrison and Michael Coleman,
Paddy Killoran popularised the animated and soulful Sligo-American fiddle style.
Two generations later, fiddler Frankie Gavin, whose father had a large collection of Killoran's 78 rpm recordings
and who co-founded the famous group Dé Danann
in the early 1970's,[23][37][44]
teamed up with with the father-and-son duo of Brian Bourke (he often beat the bodhrán with Frankie since he moved to Galway in the 1970's)
and Malachy Bourke (a fiddle pupil of Frankie's, who plays an instrument once owned by
Killoran) to explore the repertoire and playing style of Paddy Killoran.
Gavin and Bourke selected some 78 rpm recordings of Killoran's and put together primarly jigs and reels sets
(including the popular tune titled "The Master's Return" which is also widely known as "Paddy Killoran’s Reel"),
but also perform a barndance and a polka. The result is traditional Irish music that is both muscular and mirthful,
engaging the audience of the twenties and the noughties and any other decennium yet to come.
“The cheerful lift of Killoran’s style catches you every time,” says Frankie Gavin,
“and while the pain of emigration can be sensed in his music, it still embodies the life and soul of Irish traditional music.”
Blazin' Fiddles "North"
Scottish outfil Blazin' Fiddles formed as part of the Year of Highland Culture in 1998
to showcase the Highlands and Islands' distinctive fiddle styles.[15][23][36]
Almost 20 years later, fiddlers such as Duncan Chisholm or Catriona MacDonald have left the bandwagon, the current line-up features
founding member Bruce MacGregor from Inverness and fellow fiddlers Rua Macmillan from Nairn,
Kristan Harvey from Orkney and Jenna Reid from Shetland.
Anna Massie (guitar) and Angus Lyon (piano) provide exquisite accompaniment.
With Anna playing fiddle and Angus playing accordion as well, there are 6 proficient musicians to draw from a wide range
of inspirations and influences. Blazin' Fiddles' seventh studio album, "North", brings together
ancient melodies, modern classics, tunes by our friends and some brand new compositions from us.
It is kicking off with a "Shetland Night In London" composed by Jenna Reid. The ancient melodies include timeless hits
such as "The Killarney Boys Of Pleasure" and William Marshall's affecting slow air "Mrs. Major L. Stewart Of The Island Of Java",
with a Swedish "Slängspolska" thrown in for good measure.
Modern classics are from pipe master Colin Magee and Shetland fiddler Willie Hunter, the friends in question include the likes of
Irish piano accordionist Allan Kelly and Irish-American fiddler Liz Carroll as well as Scottish trad musicians
Ross Kennedy, Allan MacDonald and Phil Cunningham. The tunes are carefully chosen and beautifully put together,
creating a wall of sound of multiple fiddles in unity, harmony and descant.
Noeleen Ní Cholla "An Mhaighdean Mhara"
Oftentimes the presentation of traditional Irish language music is a solemn and serious affair.
As if to prove otherwise, Noeleen Ní Cholla from Gaoth Dobhair (Gweedore) in the Donegal Gaeltacht
starts her debut album "An Mhaighdean Mhara" (The Mermaid) with a lively rendition of the love song "An Spealadoir" (The Mower).
Her own composition "Lá Aoibheann Cois Trá" about love lost and found again winds up with an unusual happy ending.
The featured tracks are a selection of popular songs from the Irish tradition ("Cailin Deas Cruite na mBo", "Donall Og", ...),
a sample from the Scots Gaelic tradition ("Chi Mi Na Morbheanna") and two English language folk songs, "The Parting Glass"
and Robert Burns' first song written at the age of 15, "Handsome Nell".
Noeleen Ní Cholla is a champion of the traditional sean-nós singing style, who presents each tune with emotional fervour.
Her voice is always in the center. Manus Lunny's sympathetic accompaniment (basically delicate guitar and keyboards)
is never distracting from the songs and stories. Ange Hardy "When Christmas Day Is Near" [EP]
Somerset folk singer-songwriter Ange Hardy[54][55]
shines a light on the sentiment of hope and happiness of the Christmas season
and the promise of joy and music in the new year
with a beautiful a capella song, "When Christmas Day Is Near".
Vishtèn "Terre Rouge"
There is a small enclave on Prince Edward Island off Canada’s east coast where French culture is
predominant, whereas the nearby Magdalen Islands (Îles-de-la-Madeleine) are primarily Francophone. For 15 years,
the trio Vishtèn,[44][53]
comprised of twin sisters Emmanuelle and Pastelle LeBlanc and Pascal Miousse,
are pleasing audiences both home and abroad
with their fusion of their French-Acadian, Celtic and Native American (Mi'kmaq) cultural heritage with
a modern pop and rock attitude. Acoustic and electric instrumentation converge with foot percussion,
tight harmonies and mouth music. For "Terre Rouge" (Red Earth, a reference to the colour of the soil)
the trio returned to the Magdalens and Prince Edward Island to work with local musicians and researchers.
This CD ist the rich harvest, comprising catchy fiddle tunes and moving ballads. Vishtèn put different versions and variants together,
e.g. "Je vous aime tant" takes its lyrics from two different ballads set to a melody collected at
the US American side of the border, the track is then complemented with an original dance tune from clawhammer banjo player Neil Driscoll.
"Joe Féraille" is an homage to the Cajun tradition, uniting a
comical song from the Lomax collection with a traditional cajun stomp.
The instrumental tracks are made for dancing. Let me just mention Pastelle LeBlanc's
"Trois Blizzards" written in the harsh winter of 2015, sonically recreating the snow storms.
Dónal O'Connor, John McSherry, Sean Óg Graham "Ulaid"
This new outfit is labelled after the ancient name for the people of Ulster, Ireland's northern province.
It includes, however, three experienced performers of the Irish roots music circuit,
currently all living in Co. Antrim in the North East of Ireland and having spent many late night sessions together.
Piper John McSherry[38][42]
had co-founded Lunasa,[5]
before forging his own projects At First Light[46]
and The Olllam.[50]
Fiddler Dónal O’Connor,[44]
son of celebrated fiddler Gerry O’Connor and singer Eithne Ni Uallachain,
is John's fellow combatant with At First Light.
Seán Óg Graham plays the accordion with the high-flying Beóga,[31][33][41][46][55]
here he displays his skills on the guitar. Sounds promising, isn't it?
A waltz of Dónal's and a 3/4 polka of John's lead into a tour de force through Irish music,
with a Swedish polska, a Breton tune and an Asturian 5/4 piece off the beaten track.
The trio successfully defends its reputation to dress traditional Irish music into a contemporary garment.
Contrary to their previous work in different ventures, however, their artistry is veiled by a cautious and relaxed expression.
Someone already labelled it ulaid-back.
Clearly this music is no run-of-the-mill Irish folk music, but as exotic and alien
as the people of Ulster of centuries ago are to us,
but O'Connor, McSherry and Graham are pointing in the other direction, into the future,
and paving a way for the next generation of Irish musicians.
"The Genius of Peter Conlon"
"If There Weren't Any Women In The World"
Oldtime Records are dedicated to present traditional Irish music from the 1920's and 1930's,
the Golden Age of 78 rpm recordings in North America. Three volumes cover such luminaries as
Michael Coleman, James Morrison, Leo Rowsome, Paddy Killoran & His Pride of Erin Orchestra,
and the Flanagan Brothers.
Joining them is the key player regarding traditional Irish music on the melodeon of the era,
the extraordinary Peter James Conlon (1892-1967).
He was born in Gurrane, Co. Galway and emigrated to America in 1912.
Playing New York's dance halls, music eventually became his full time occupation.
One of the first Irishmen to make commercial recordings,
he cut sides between 1917 and 1929, until the stock-market crash put an end to a profitable market for ethnic music.
Oldtime Records presents 47 recordings (of 51 cuts Conlon made), faithfully
transferred from shellac to compact disc. Almost all of them are available again for the first time.
It displays an artist who plays his single row ten key melodeon with passion and panache, ultimately aimed for dancing.
The early recordings are focussing on single tunes to fully explore its potential with ornamentations and variations.
After 1924, most recordings are pairs of tunes and include a duet with Sligo-American fiddler James Morrison.
Lets put it this way:
Conlon's mastery of his instrument; his unique style; his brilliant technique; the sheer excitement and life in his playing
(Paul Brock) is a celebration of raw energy, great heart, fine phrasing and wonderful imagination (Mairtin O Connor).
Peter Conlons older sister Mary Ellen recorded some accordion music as well,
and there's nothing inferior compared to their male colleagues.
If There Weren't Any Women In The World (the title of a barndance which have also been recorded by James Morrison in New York in 1928)
gathers 78 rpm recordings of traditional Irish music conducted by female artists from 1923 to 1942. Most recordings and its
performers as well are long forgotten. Fiddler Aggie Whyte,[44]
who played with The Ballinakill Ceilidhe Band, is the only familiar name to me.
Probably most of the others never appeared on CD before: fiddlers Treasa Ni Ailpin and Selena O'Neill,
melodeon players Ann McNulty, Redie Johnston and Katie McLaughlin,
piano accordionist Stella Seaver, the accordion-banjo duo Margaret and Mary McNiff-Locke,
singers Nan Fitzpatrick and Nora McGowan. There also are a couple of trios, quartets and ceili bands, e.g.
the Lough Gill Quartette ft. fiddler Sarah Hobbs alongside accordionists Sonny Brogan and Bill Harte.
Both collections include a booklet with extensive background notes,
and a cover illustration by American cartoonist (and banjo and mandolin player) Robert Crumb,
whose work and drawing style has been inspired by folk culture, music and cartooning of the early 20th century.
Oisín Mac Diarmada "The Green Branch - An Géagán Glas"
Oisín Mac Diarmada began playing the fiddle in his native Co. Clare, but developed a deep
interest in the playing style of the Sligo region after moving there in 1989.
Only recently he was the presenter of The Sligo Masters documentary broadcast on TG4,
which explored the story of three master Sligo fiddlers (Coleman, Killoran, Morrison) who emigrated to the US in the early 20th century.
Besides fronting the group Téada,[23][29][32][53]
Oisín is a frequent solo performer.
He recorded his first album 15 years ago, a peculiar combination of fiddle, banjo and harp,[18]
which has been presented once again at last year's All Ireland Fleadh in Sligo.
13 years after he recorded his last solo album "Ar an bhFidil",[23]
Oisín's new solo release "The Green Branch - An Géagán Glas" continues the great legacy of his forerunners.
14 dance sets, mainly trad and mainly reels, but also a fondness for Charlie Lennon tunes,[34]
display his punchy execution and ornamented style.
Oisín himself composed the set "Veronica McNamara's / The Professor / Charlie Dolan's"
for the Transatlantic Connections Fleadh Cheoil 2015 tribute concert to commemorate 100 years since James 'The Professor' Morrison
emigrated from Sligo to America.
It is Both Meat and Drink to cite the title of an Ed Reavy composition.
Oisín's California-born wife Samantha Harvey
provides subtle and sparse accompaniment on the piano, and some considerate dance steps on one track.
Kiran Young Wimberly & The McGraths "Celtic Psalms: The Lord's My Shepherd"
Kiran Young Wimberly is a Presbyterian minister who has served congregations in both Northern Ireland and the United States.
She has studied psalm singing, and this is her second album of Biblical psalms set to Irish and Scottish tunes.
Her selection features the ultimative number 1, Psalm 23
- The Lord is my shepherd. He leads me in paths of righteousness. I will fear no evil. I will dwell in the house of the lord forever. -,
and popular ditties such as Psalm 84
- How lovely is your dwelling place, O Lord! A day in your courts is better than a thousand elsewhere. For the Lord is a sun and shield.
The chosen melodies are well-known to everybody:
The Parting Glass, Green Grows the Laurel, Carrickfergus, The King's Shilling, ...
Recorded in Belfast by Dónal O’Connor (see Ulaid review above), the album features
the voices of the McGrath family of McGrath’s Pub in Dungannon, Co. Tyrone.
Words and music suit each other very well, it is both contemplative and exhilarating
as is traditional Irish music in general. You can play it at home or use it in service,
regardless of denomination or affiliation.
Marty Moonshine McKernan & Don Banjo Smith & The ultimate fascination for poets and musicians since the beginning of time: the rose!
Its blossoms being a symbol for love and discretion, the thorns being a symbol for good and bad luck.
Even a superficial search uncovers many Irish/Scottish songs with the rose theme:
"Red Is the Rose", "The Banks of the Roses", "The Rose of Tralee" (which spawned today's town festival and beauty competition in Co. Kerry),
and, last but not least, Robert Burns' "My Love Is Like a Red Red Rose".
Furthermore, Ernest Ball (who also wrote "When Irish Eyes Are Smiling") celebrated the "Rose of Killarney"
and Bill Staines paid a visit to the "Roseville Fair" ...
Way back in the 1990's, Don Smith (banjo) and Marty McKernan (guitar) were playing New York's
Irish pub and festival circuit under the name of Thorn Between the Roses and Thorns and Roses, respectively.
This got Don thinking about a concept album. Back then it was to no avail, 15 years later the idea came full circle
and they were able to record 14 songs.
Instruments featured are the tenor and 5-string banjo, guitar, mandolin, accordion, fiddle and whistle,
the album intentionally or unintentionally pays homage to the classic sound of Irish and Irish-American folk song
of the Clancys and Dubliners.
It is simple and straight-forward folk music, comprising the words of prolific writers
set to neat and catchy melodies.
Paul McKenna Band "Paths That Wind"
Paul McKenna and his comrade-in-arms are the whizz kids of Scottish music.[38][45][46][51]
Celebrating their first decade, the group's fourth album "Paths That Wind" once again
showcases their trademark sound, traditional song and music dressed up in fashionable clothes.
The expressive and passionate voice of singer-songwriter-guitarist Paul McKenna
is properly supported by Sean Gray (flute), Jack Smedley (fiddle), Conor Markey (banjo, bouzouki) and
Ewan Baird (bodhran, cajon). Together they present a fine mixture of traditional, contemporary and original pieces.
Paul McKenna's "Long Days" is a nice preface, sitting alongside the beautiful 19th century ballad "Banks of the Moy",
Alistair Hulett's haunting "He Fades Away" and Peggy Seeger's anti-Fascist "Song of Choice".
To set a lighter tone, Seán Gray wrote a couple of lively and groovy tunes,
so that any audience might step out too.
Lisa Ward "Black Swan"
Lisa Ward is a fiddler from Co. Leitrim, born into a family steeped in traditional Irish music.
Back in 2010, she won the All-Ireland title; recently she graduated from the Irish World Academy of Music and Dance at the University of Limerick.
For the Leitrim Equation 3 album Lisa recorded two slip jigs accompanied by Donal Lunny.[53]
She says: “I am passionate about Leitrim style of fiddle playing and feel that it is not as well-known as it should be in the Irish music scene.
Sharing these tunes with others and making musicians more aware of Leitrim composers and Leitrim fiddle style forms an important
part of my fiddle playing." It took two years to complete her debut album; she needed the time to explore and combine tunes
and techniques, and along the way perfected her craft. "Black Swan" is kicking off with Lisa playing solo and unaccompanied.
On most other tracks she is supported by Orla Ward (flute), Niamh Ward (accordion), Paul Meehan (guitar), Brian McGrath (piano) and
Sarah Ward (bodhrán). Jigs and reels sets take turns, some tunes are old, there's a hornpipe from James Hill and a strathspey
from James Scott Skinner, but also Junior Crehan's "Mist-Covered Mountain", Charlie Lennon's "Ríl an Spidéal" and Dave Munnelly's
"Two Bridgies Barndance No.2". The album eventually closes with two reels by whistle player Sean Ryan,
another treat on the solo fiddle. Värttinä "Viena"
Finland's trad pioneers and model band Värttinä (which means spindle)[7][14][18] [38][47]
presents their 13th album. There is only Mari Kasinen left from the original line-up which gathered way back in 1983.
These days the vocal section is consolidated by Susan Aho and Karoliina Kantelinen, whereas
Matti Kallio (accordion), Lassi Logrén (fiddle, jouhikko, nyckelharpa) and Matti Laitinen (string instruments)
care for a contemporary musical context of the group's ancient songs and stunning harmonies.
"Viena" features no big hits which catch the ear at once, but it is down-to-earth and more acoustic than its predecessor.
It is rooted in the traditional music of the Viena region, the Northern part of the Russian republic of Karelia between
the Baltic Sea and the White Sea. It is the home of the last runo singers, and Värttinä's original music is inspired
by the powerful chant and weird harmonies of this ancient craft.
The music is intelligible, but fortunatly the lyrics are printed in English in the booklet as well.
The album closes with a new recording of the song "Oi Dai", the title track of the album which
made Värttinä popular all over Europe in 1991.
Own label; 2015
This album presents a mix of largely either self penned or traditional tunes bridging Swedish and English traditions. A couple of songs sung by Rob are thrown in for good measure. Apart from two tracks with additional guitar, the album features solely fiddle and concertina. The duo's music just lives and breathes from the musician's spontaneity and obvious passion for traditional music.
The album has a relaxed flair, yet it demands the listeners' attention to fully appreciate its beauty and complexity.
Own label; 2015
Own label; 2015
Another Scotsman, Davy Cattanach, wrote the folk ballad „The Buddha Song“, Crawford sings the lead vocals Coutts and Salossi the backing vocals, guitar, mandolin, guitalele, up-right-bass and Ali Hutton on the whistle create the beautiful sound. West Virginian Country musician Tim O’Brien’s “Brother wind” is brought forward by the trio on two guitars and mandolin laying a tender pace under the beautiful singing of the three. Fabio Nettekoven joins the trio on slide guitar for Crawford’s intoxicating Bluegrass song “Hard and heavy rain”, one of my favourites. Another one is “Pink flamingo” (D. Cattanach/P. Coutts), a relaxed Country song featuring Coutts on lead vocals, Chris Hall on Cajun accordion and Salossi on fiddle and upright bass. Graham Coe lays a musical carpet on cello for guitar, mandolin and the voices of Crawford and Coutts, the tender ballad “Waiting for return” (S. Crawford/D. Cattanach). The final “Gravity’s footsteps” (Crawford/Cattanach/Coutts) starts as a folk ballad featuring two guitars, mandolin and Jonny Hardie on fiddle, with Gerry Kelly joining in on banjo and Salossi adding upright bass they accelerate the pace and get started for a stunning finale.
The album is a beautiful collection of covers and self-crafted songs rooted in traditional folk and Americana music.
Own label, 2015
© Walkin' T:-)M
Own label, 2015
© Walkin' T:-)M
Oak Ridge Records, 2015
Scott Wood has just taken the first few steps of his musical career, and I'm curious
in which direction he is heading and where we will meet again.
© Walkin' T:-)M
Own label, 2015
© Walkin' T:-)M
Cló Iar-Chonnacht, 2015
© Walkin' T:-)M
Cló Iar-Chonnacht, 2015
© Walkin' T:-)M
Own label, 2015
© Walkin' T:-)M
Own label, 2015
P.S.: In 2012, Jason O'Rourke started writing short stories about everyday life in Belfast on
his blog, www.vernacularisms.com.
Since then he's had a few stories and poems published; details can be found @ www.jasonorourke.info/writing/.
© Walkin' T:-)M
Fellside, 2016
© Walkin' T:-)M
Soundpost Records, 2016
© Walkin' T:-)M
Own label, 2015
© Walkin' T:-)M
"The Master's Return - A tribute to Paddy Killoran"
Ergodos, 2015
© Walkin' T:-)M
Blazin’ Fiddle Records, 2015
P.S.: Since 2001, Blazin’ Fiddles have hosted a week of tuition, concerts and ceilidhs
in the small town of Beauly in the Highlands of Scotland. In 2016, Blazin in Beauly
is held from Sunday 9th – Friday 14th October 2016. Starting two years ago, the Blazin' Fiddles members
wrote a tune for auction (each tune being named by the winning bid, with all proceeds go to Blazin in Beauly).
"North" features several of these tunes ...
© Walkin' T:-)M
Cló Iar-Chonnacht, 2015
Noeleen is from the same village as Maire Brennan of Clannad,
it seems to be both fertile soil and good prospect.
© Walkin' T:-)M
Story Records, 2015
Three berries white and gold One heavenly star shines bright
Hang tight to the mistletoe One world under one sky
Oh a single kiss for a Christmas wish Will all rejoice in united voice
Does make for a joyful soul For the new year to come by
The EP also features a track from Ange's 2015 studio album "Esteesee", which had been
inspired by romantic poet Samuel Taylor Coleridge (1772-1834),
and a snippet of a song written the day after the Bataclan attacks in Paris.
© Walkin' T:-)M
Plages, 2015
© Walkin' T:-)M
Own label, 2015
© Walkin' T:-)M
Oldtime Records, 2015
Oldtime Records, 2015
© Walkin' T:-)M
Ceol Productions, 2015
© Walkin' T:-)M
Own label, 2015
© Walkin' T:-)M
The Thorns & Roses Band "The Rose Sessions"
Own label, 2015
© Walkin' T:-)M
Own label, 2016
© Walkin' T:-)M
Own label, 2015
A black swan stands for an unexpected incident, Lisa Ward's
album surprised me and, first and foremost, satisfied me as well.
© Walkin' T:-)M
Westpark Music, 2015
© Walkin' T:-)M
