↧
June Tabor with Martin Simpson - A Cut Above (1980 England) @320
↧
Arvest - Tri Diaoul (2010 France) @320
The group's repertoire comes from very traditional music and contemporary compositions. Arvest is one of the most popular fest-noz groups.
Both singers Yves Jego and Yann Raoul practiced a pure and authentic kan ha diskan.
Guitar and piano are light and rhythmic dance.
Official site:
01 - Tri Diaoul (Pach Pi)
02 - Lec'h Ebet (Laride 6 Temps)
03 - En Bonne Intelligence (Rond Saint Vincent)
04 - Debrit Mat ! (Gavotte)
05 - Atav (Bal)
06 - Goullo (Gavotte Podou Fer)
07 - Liammou (Bourrée)
08 - Une Sombre Histoire (Pile Menu)
09 - Staget
10 - An Alc'hweziou (Valse)
11 - Kuzhet (Hanter Dro)
Yann Raoul: chant
Yves Jego: chant
David Er Porh: guitare, programmations
Aymeric Le Martelot: claviers, mélodica
↧
↧
Maria Kalaniemi - Vilda Rosor [2010 Finland] @320
When “I Fjol,” the first track in Finnish accordionist -- and singer -- Maria Kalaniemi’s Vilda Rosor (Wild Roses) kicks in, the listener might very well do a double take, as the banjo pickin’ of Janne Viksten is among the first sounds to greet the ears. Like most of the material on Vilda Rosor, this is a Finnish-Swedish folk tune, but that banjo -- soon to be joined by lowdown reedy accordion and pluckings from other bandmembers -- wouldn’t seem out of place rising from an Appalachian holler. And then there is Kalaniemi’s voice, strong and clear in the upper registers on the choruses, with an authenticity suggesting late-night jam sessions more than her training at the academy and world-renowned virtuoso status. It is a measure of Kalaniemi’s confidence as a singer that she doesn’t over-emote, bringing touches of vibrato and folk inflections and matching, never overpowering, the diverse instrumental backing on these tunes, with Viksten's banjo occasionally reappearing and fitting in just right (eight musicians are featured in various combinations on the disc, playing instruments including fiddle, acoustic guitar, electric guitar, harmonica, harmonium, jouhikko, and double bass). And in fact, the most downright thrilling moments on Vilda Rosor arrive thanks to her voice on the title track, Kalaniemi’s only composition on the album. “Vilda Rosor” has no pyrotechnical playing on the accordion -- which is used mainly for chordal support -- but instead derives its greatest power from a stunning chorus sung by Kalaniemi, entering suddenly as the reeds swell beneath it. In another twist, the instrumental break in “Vilda Rosor” is taken by Mikko Kosonen on electric guitar, verging toward blues-rock yet spacious enough to find a comfortable place backed only by accordion and banjo.
Another highlight is “Magdalena På Källebro,” a medieval ballad arranged by acoustic guitarist (and frequent Kalaniemi collaborator) Olli Varis, who backs the leader’s vocal with ringing harmonics before the entrance of a deep, nearly orchestral, foundation from, one suspects, Eero Grundström’s harmonium. The tango “Under Fullmånen,” with Kalaniemi unaccompanied, can’t help but suggest Piazzolla and, like the music of the Argentinian nuevo tango master, it brings out the accordion’s capacity for deep soulfulness, while “De Rosor Och De Blader” finds Kalaniemi and friends (notably fiddler Arto Järvelä) equally soulful mixing the Baltic with the Balkan. “Videpiano,” one of two pieces composed by Kalaniemi’s late Accordion Tribe bandmate Lars Hollmer and originally on Hollmer’s Andetag album, is simultaneously stately, sturdy, and heartfelt; here the tune maintains its original flavor in a sparser arrangement, with Kalaniemi -- joined only by a late entry from Grundström on harmonica -- beautifully ornamenting the melodic lines. Andetag’s (and Accordion Tribe’s) “Cirkus II” -- also featuring Kalaniemi and Grundström here -- is a manic, even jarring contrast with the album’s rather melancholic tinge elsewhere, but like “Videpiano” is a welcome inclusion and hopeful indicator that the Hollmer repertoire will take root in more recordings during the years ahead.
01 - I fjol
02 - Vårens väna grönska går (Suvitunnelma)
03 - Videpiano
04 - De rosor och de blader
05 - Under fullmånen (Täysikuu)
06 - Magdalena på källebro
07 - Cirkus 2
08 - Vilda Rosor
09 - Sven i Rosengård
10 - Jeppo (Grannas bastun)
Maria KALANIEMI: voice, accordion
Eero GRUNDSTRÖM: harmonium, harmonica
Arto JÄRVELÄ: fiddle
Mikko KOSONEN: electric guitar
Pekko KÄPPI: jouhikko, voice
Pekka LEHTI: double bass
Olli VARIS: acoustic guitar, dotar
Janne VIKSTEN: banjo
↧
Altan Urag - Nation [2010 Mongolia] @320
By request
Formed in 2002, Altan Urag is an ethnic folk rock band, whose music fuses traditional Mongolian sounds with contemporary influences. The name Altan Urag can be loosely translated as "Kin of the Khan" or "Golden Lineage", referring to Genghis Khan and his ancestors. The band's vision is both to promote Mongolian culture to the world and to introduce traditional music to the young people of their country.
The band's seven members are skilful performers on traditional instruments: morin khuur (horse-head fiddle), ikh khuur (grand horse-head fiddle), bishguur (traditional horn) and yochin (hammered dulcimer) and percussion. The vocalists are throat and long song singers, and have all been trained in traditional and classical Mongolian music.
Altan Urag is Mongolia's youngest professional band ... This band was founded in March of 1998. Altan Urag plays national Mongolian music, foreign classical and modern music, collaborating with foreign musicians. Altan Urag successfully participated in musical festivals organised in China, Japan and Russia. All members of the band are professionals, graduated from the Music and Dance College.
Formed in 2002, Altan Urag is an ethnic folk rock band, whose music fuses traditional Mongolian sounds with contemporary influences. The name Altan Urag can be loosely translated as "Kin of the Khan" or "Golden Lineage", referring to Genghis Khan and his ancestors. The band's vision is both to promote Mongolian culture to the world and to introduce traditional music to the young people of their country.
The band's seven members are skilful performers on traditional instruments: morin khuur (horse-head fiddle), ikh khuur (grand horse-head fiddle), bishguur (traditional horn) and yochin (hammered dulcimer) and percussion. The vocalists are throat and long song singers, and have all been trained in traditional and classical Mongolian music.
Altan Urag is Mongolia's youngest professional band ... This band was founded in March of 1998. Altan Urag plays national Mongolian music, foreign classical and modern music, collaborating with foreign musicians. Altan Urag successfully participated in musical festivals organised in China, Japan and Russia. All members of the band are professionals, graduated from the Music and Dance College.
01 - Intro (Ehlel)
02 - Kherulen River (Kherlen)
03 - The Beige Stallion (Sharga azarga)
04 - A White-Jawed Lark (Eruu tsagaan boljmor)
05 - Farewell (Udelt)
06 - The Light (Gegee)
07 - Four Kinds of Khoomei Singing (Huumiin 4-n turul)
08 - Blue Mountains in Distance (Tsenherlen haragdah uul)
09 - Mirage of Far Land (Alsiin gazriin zereglee)
10 - The Town of Jiijuu (Jiijuu Khot)
11 - Two Folk Songs (Ardiin 2 Duu)
12 - The Five Hills of The Steppes (Taliin tavan tolgoi)
13 - The Accent of Beats (Tsohiuriin ai)
14 - Outro (Tugsgul)
B. Erdenebat (Erka): yoochin, piano
M. Chimedtogtokh (Chimdee): pipe, vocals (throat singing)
Ts. Gangaa (Gangaa): great fiddle, bass
P. Oyunbileg (Oyunaa): moriin khuur, vocals (throat singing)
B. Bolortungalag (Tungaa): drums, percussion
B. Burentogs (Burnee): moriin khuur, vocals (throat singing)
Kh. Erdenetsetseg (Erka): vocals (long song)
↧
Various Artists - [1996 MULT] - Green Linnet - The 20th Anniversary Collection [1996 Multinational] @256
The great Celtic-music revival that coincided with the mid-'70s founding of Green Linnet Records still gathers momentum. It has little in common with the sentimental vaudeville songs of Irish American St. Patrick's Day parties and even differs subtly but crucially from the chamber-music elegance of the Chieftains. This is a looser music, born in the pubs rather than the concert halls and aimed at dancing and singing along rather than respectful applause. The movement includes some of the world's best singers and best improvising instrumentalists. I would especially recommend the bands--Bothy Band, Silly Wizard, the Irish Tradition, Celtic Thunder, Patrick Street, Trian, Altan, and, above all, Relativity--but there's a wealth of acoustic music out there and The Twentieth Anniversary Collection is the best place to start.
CD1
01 - The Rainy Day-First You Must Learn The Grip (Seamus Ennis)
02 - Maudabawn Chapel-The Wild Irishman-The Moher Reel (Kevin Burke-Micheal O'Domhnaill)
03 - Dans Loudieg (Kornog)
04 - Oh Mo Dhuthaich (Capercaillie)
05 - Fermanagh Highland-Donegal Highland-John Doherty's-King George IV (Altan)
06 - Farrell O'Gara-The Flogging Reel (Joe Derrane)
07 - Culloden's Harvest (Deanta)
08 - A Farruquina (Milladoiro)
09 - On Horseback (Eileen Ivers)
10 - Chinese Polka-William Durette's Clog-The Boys Of The Lough (Moving Cloud)
11 - The Golden Keyboard-Mayor Harrison's Fedora (Matt Molloy-Sean Keane)
12 - Lover's Heart (Silly Wizard)
13 - Gray Bob-Cutty's Wedding-Loch Carran-Gray Bob (The Tannahill Weavers)
14 - The Humours Of Ballyconnell-Reel Eboulement-Richie Dwyer's (Trian)
15 - The Humours Of Whiskey (Tim Lyons)
16 - Colonel Fraser (Jerry O'Sullivan)
17 - Loftus Jones (The Irish Tradition)
18 - Music For A Found Harmonium (Patrick Street)
19 - There Was A Lady (Relativity)
20 - The Dionne Reel-Mouth Of The Tobique (Kevin Burke-Johnny Cunningham-Christian Lemaitre)
CD2
01 - The Crooked Road-The Foxhunter's Reel (Martin Hayes)
02 - The Cameronian Set The M'Intinn Raoir-Duke Of Gordon-The Cameronian-Lady Of The House (Cherish The Ladies)
03 - The Wishing Tree (Seamus McGuire)
04 - Ballavanich~The Boys From Ballavanich-Mrs. Crehan's (Wolfstone)
05 - Gort To Texas To Honolulu~Master McDermott's-The Plough And The Stars-Dillon Brown (Reeltime)
06 - There Were Roses (Mick Moloney-Jimmy Keane-Robbie O'Connell)
07 - Winnie Hayes' Jig-The Lonesome Jig (John Williams)
08 - Rigney's-Ambrose Moloney's (Paddy O'Brien-Seamus Connolly)
09 - The Two-And-Sixpenny Girl-The Boys Of The Town (Joe Ryan-Eddie Clarke)
10 - Bolen's Fancy-The Dunmore Lasses-The Maid Behind The Bar-The Glass Of Beer (Touchstone)
11 - No Man's Land-Flowers Of The Forest (June Tabor)
12 - Pharaoh (The House Band)
13 - Maud Miller-The Sailor's Return-Paddy Murphy's Wife (James Keane)
14 - The Celtic Lament (Eugene O'Donnell)
15 - Johnny Allen's-Sporting Nell (Billy McComiskey)
16 - Song For Ireland (Dick Gaughan)
17 - Master Crowley's-The Jug Of Punch (Joe Burke)
18 - A Jig And Five Reels The Leitrim Fancy-Around The World For Sport-Rip The Calico (The Bothy Band)
↧
↧
Jacqui McShee & Friends - English Christmas Carols [1994 England] @320
Jacqui McShee was already singing traditional folk in British folk clubs when
she began working with virtuosic acoustic guitarist John Renbourne in 1966. A year later, she agreed to join Pentangle, a band Renbourne was forming with equally skillful guitarist Bert Jansch, bassist Danny Thompson, and percussionist/drummer Terry Cox. McShee's decision to accept Renbourne's invitation proved pivotal to the history of British music as Pentangle joined with Fairport Convention and Steeleye Span to put British folk-rock on the international map.
McShee's talents were obvious early in her career. In 1969, the Times of London wrote that she "tackles accompanied and unaccompanied folk songs, spirituals, blues, and a variety of songs in other styles; her first interest was folk song." Although Pentangle experienced numerous personnel changes, McShee and Jansch continued to perform under the band's name. In 1995, McShee formed a trio with drummer Gerry Conway and keyboardist Spencer Cozens. The trio's first album, About Thyme, released in August 1994, featured such guests as Ralph McTell, Albert Lee, Mike Mainieri, and John Martyn. The album reached the top of the British folk charts compiled by Folk Roots in November 1995. Expanding to a five-piece band with the addition of tenor and soprano saxophonist Jerry Underwood and bassist/guitarist Alan Thompson, the trio was renamed Jacqui McShee's Pentangle. The group received extremely favorable press. While Dirty Linen explained, "When the last incarnation of Pentangle tried such nontraditional arrangements, they often sounded strained, while McShee's new group pulls it off with grace and style," Folk Roots wrote, "(McShee), who used to sound so fragile you feared she'd break, now has an earthiness in her voice that gives her performance much more passion." The first album by Jacqui McShee's Pentangle, Passe Avant was released in 1999. According to reviewer George Graham, "The sound is miles from the acoustic guitar-dominated arrangements of the earlier Pentangle. The instrumental sound instead is dominated by Cozen's keyboards and the very jazz sax of Jerry Underwood."
allmusicguide
1. The Coventry Carol 3:15
2. In the Black Mid-Winter 4:05
3. Unto Us a Boy Is Born 2:23
4 The Holly and the Ivy 3:11
5. The Moon Shins Bright 1:56
6. Hark the Herald Angels Sing 2:32
7. Song of Joy for Christmas 3:52
8. Silent Night 2:39
9. Rise Up Shepherd 2:15
10. The First Nowell 3:51
11. It Came Upon a Midnight Clear 3:23
12. The Mistletoe Bough 2:59
13. Winds Through the Olive Trees 1:51
14. Once in Royal David's City 3:14
15. As Joseph Was a-Walking 2:19
16. While Sheperds Watched Their Flocks 2:39
Jacqui McShee: Vocals
Vic Abram: Vocals & guitar
Danny Thompson: Double bass
Tony Roberts: Flute, oboe, whistles, Northumbrian pipes
Ben Ahrens: Percussion
↧
Ambrozijn - Botsjeribo [2004 Belgium] @320
Without singer Ludo Vandeau and back into its original line is Ambrosia embarked on a new road that has captured her fifth album Botsjeribo. Apart from a few French songs this CD contains many English-language work of Tom Theuns who takes the vocals. Based on American singer-songwriter music was called in the run-up to release today. But the CD Botsjeribo more Anglo-Saxon than American.
What Ambrozijn - and this CD - so special is the next artistic delights, regularly returning to the essentials. Delicious with threesomes - like on stage - playing swinging dances, without electronic gadgets and complicated bragging. Challenging each other, searching for the right balance between fiddle, accordion and guitar. So it exudes fun on Scottish for a happy new year, the traditional Moving Cloud, Doedelyoudo?, and the Gabor Mazurka.
Ambrozijn which shows the artistic and thoughtful material easily and without any embarrassment becomes pleasantly simple back to the roots, their maturity at times. The group is unique in it. Especially in the second half of the CD increases Ambrozijn it to unprecedented levels, culminating so the song Party at Mrs. Garriocks that evolves into a rousing Sirtaki! From a dreamy atmosphere.
01. Like i was to blame
02. The days in Robin's house
03. Scottish for a happy new year
04. The disciple song
05. A Song
06. Tomorrow's memory
07. Moving cloud
08. Botsjeribo
09. Hopping
10. Gabormazurka
11. The cottage of lost play
12. Doedelyoudo?
13. Jésus qui joue l'accordéon
14. Party at Mrs. Garriocks
15. Dessus la mer coulante
16. Botsjeribo (original recording)
Wim Claeys: Accordion, Percussion, Harp, Vocals
Tom Theuns: Banjo, Bass Guitar, Guitar, Piano, Vocals
Wouter Vandenabeele: Piano, Mandolin, Violin
Lode Vercampt: Cello
Kristof Roseeuw: Double Bass
Backing Vocals – Eva De Roovere, Fritz Sundermann
Violin – Isabelle Vandendriessche, Jeroen Baert, Katrien van Remortel, Luc De Gezelle
↧
Sourdeline - Jeanne D'aymé [1978 France] @320
Re-up by request
Stylistically one could compare the vocal harmonies on some tracks to Malicorne, its medieval inspirations to Tarentule, and a few exotic touches has made some associate Emmanuelle Parrerin with it. Most of the album is rather sparsely arranged in a rather pastoral way, with a few folk dance movements and an acoustic percussive track. The female lead voice is lovely, like in Malicorne’s band, but also the lead male voice has a beautiful softness. Instruments like bto in the mix. The original inspirations on old music make something reborn in a rooted tradition alone worth keeping vivid, like Sourdeline also does.
Stylistically one could compare the vocal harmonies on some tracks to Malicorne, its medieval inspirations to Tarentule, and a few exotic touches has made some associate Emmanuelle Parrerin with it. Most of the album is rather sparsely arranged in a rather pastoral way, with a few folk dance movements and an acoustic percussive track. The female lead voice is lovely, like in Malicorne’s band, but also the lead male voice has a beautiful softness. Instruments like bto in the mix. The original inspirations on old music make something reborn in a rooted tradition alone worth keeping vivid, like Sourdeline also does.
The band name Sourdeline refers to the earliest bagpipe invented by a Frenchman in Italy Baptiste Riva, an instrument with 4 chanters and a complex key system, and which had an extra pump like an accordion which allowed a steady flow. This instrument could work as a reference to the old music, but more specifically the band just liked the sonority of word, which fitted well to their music (as a sort of lyrical explorative gentleness a matter of speaking).
01 - Au Roc D'Anglars
02 - La Fontaine
03 - La Belle Abandonnée
04 - Ronde De Mai
05 - Jeanne D'Aymé
06 - Voici La Saint Jean Et La Saint Pierre
07 - Complainte
08 - Hé là où vas-tu donc ?
09 - Si J'Avais Un Galant
10 - Ils Sont Bien Peles
11 - La légende de Saint Nicolas
12 - Trois Danses
13 - Unknown
Catherine Burban (chant, dulcimer)
Jean-Pierre Dallongeville (chant, sitar)
Jean-Pierre Danielsen (chant, flute)
Jacky Izambert (chant, tabla, percussion)
Alain Lousteau (chant, percussion)
↧
Sourdeline - La Reine Blanche [1976 France] @320
Re-uploaded by request
On the first release by Sourdeline, their roots in traditional folk is very clear, improvising on the melodies and songs and dance rhythms of the old music with repetitive patterns and beautiful arranged harmonies on the tunes. They developed their own combination of folk instruments that would develop the right atmosphere : simple bodhran-like hand drum rhythms, bowed psalter and zither, acoustic guitar and crumhorn with violin and vocals are the foundations also for further development of a new song repertoire that would fit with the old songs so that a revival of these ideas, present in a setting travelling amongst ordinary or common folks, is established, a reinvention of the minstrel principle for common people. The female lead singer has a very convincing beautiful voice for it, the male singers an absolute support. On two tracks we can hear the Bert Jansch with John Renbourn influence more clearly, overshadowed or adapted by the medieval arrangements. This album shows a fine foundation for practical French minstrel music and of the Sourdeline style in general.
On the first release by Sourdeline, their roots in traditional folk is very clear, improvising on the melodies and songs and dance rhythms of the old music with repetitive patterns and beautiful arranged harmonies on the tunes. They developed their own combination of folk instruments that would develop the right atmosphere : simple bodhran-like hand drum rhythms, bowed psalter and zither, acoustic guitar and crumhorn with violin and vocals are the foundations also for further development of a new song repertoire that would fit with the old songs so that a revival of these ideas, present in a setting travelling amongst ordinary or common folks, is established, a reinvention of the minstrel principle for common people. The female lead singer has a very convincing beautiful voice for it, the male singers an absolute support. On two tracks we can hear the Bert Jansch with John Renbourn influence more clearly, overshadowed or adapted by the medieval arrangements. This album shows a fine foundation for practical French minstrel music and of the Sourdeline style in general.
01 - Le Château De Chantelle
02 - La Dent Du Loup
03 - La Belle Est Au Jardin D'Amour
04 - M'en Vas À La Fontaine
05 - C'est À Ville
06 - Mon Petit Frère
07 - La Reine Blanche
08 - J'Ai Vu Le Loup, Le Renard, Le Lièvre
09 - Princesse De Rien
10 - Le Chaudron
11 - L'Eglantine Est Eclose / Lève-Toi Donc Belle / Quand Mon Père Il M'A Mariée
Catherine (chant, dulcimer)
Pascale (violon)
Dada (chant, guitare, madolocelle)
Jacky (chant, tabla, percussion)
Sésen (chant, flute, cromorne, dulcimer)
↧
↧
DRD - DRD [2008 Spain (Asturias)] @256
Kindly provided by Ron friend
DRD perform a mixture of traditional dance music and songs, mainly from the western part of Asturies and on a mixture of Asturian traditional instruments such as flute and fiddle, as well as on guitar and bouzouki. DRD recorded their first album in 2005 (with guest Irish piper, Jarlath Henderson) and are an exciting and innovative new voice in European folk music. They were recently selected by the Spanish Arts Council to represent Asturies in a series of high profile concerts.
01 - Inera 1
02 - Escorniellu
03 - Penera
04 - Raidoriu
05 - Moxeca
06 - Tremoria
07 - Rodendu
08 - Nora
09 - Frayon
10 - Canxilones
11 - Branza
12 - Pendoles
13 - Tremoria 1 (bonus)
BORJA BARAGAÑO: (flutes)
DOLFU R. FERNÁDEZ: (violin, voice)
RUBÉN BADA: (Bazouki, guitar, violin, viola)
Youtube: Click here.
↧
Pekel - Mannen Van De Maas [1993 Netherlands] @192
Uploaded by request
The ensemble Pekel performs exuberant folk music from the Low Lands in its own
The ensemble Pekel performs exuberant folk music from the Low Lands in its own
inimitable contemporary style. In Pekel’s set of instruments, we find traditional instruments like bagpipes, Jew’s harps, and flutes, but also “new” instruments like accordion, guitar, and double-bass.
The ensemble's name comes from a liquor that local fishermen used to drink.
Pekel was founded in 1990 and now (2013) consists of 5 musicians. The members
all are professional musicians since time immemorial, and have recorded many LPs and CDs in various ensembles (notably Perelaar). Pekel is playing in theatres, schools, at fairs and banquets, as well as festivals worldwide.
The musicians of Pekel are not only interested in old Dutch sources, but also in the music recorded by ethnomusicologists during the 1950s and 1960s. However they like to apply modern popular music theories to their essentially traditional repertoire. In recent years they have included more and more own compositions into their repertoire. A fair part of Pekel’s repertoire consists of instrumental dance music (polka’s, waltzes, madlots).
01 - De Kermis
02 - Te Haarlem in Den Houte
03 - Koos en Toos
04 - Mannen Van de Maas
05 - Smouse Groenmarkt
06 - Jan Mijne Man / We Hebben Een Vos, Een Wolf en Een Haas
07 - Oue Mazurka / Luchtige Maagden
08 - Gabriel en Janneke
09 - Lage Landen / KlompendansDe Rommelpot
10 - De Troubadour
11 - Pelgrimstocht
12 - Ik Klom de Boom Al Oppe / Juzaine
13 - Anna Jacoba
John Bazuijnen: Vocals, double bass, guitar.
Peter Moree: Vocals, guitar, charango, recorder, bells.
Kees Wagenaar: Vocals, accordion, hrdy-gurdy.
Theo Schuurmans: Vocals, bagpipies, harp, tinwhistle, woodwhistle, flute,
bodhran, percussion.
↧
Hoven Droven - Grov (Sweden-1996) [Folk-Rock] @320
Re-uploaded by request
Hoven Droven's music is a unique and powerful blend of traditional folk and fierce hard rock, where violin and electric guitar duel for the audience's attention. A diverse background created by sax, drums, percussion and bass complements this combination. Keywords: power, finesse and playful virtuosity.
Hoven Droven's music is a unique and powerful blend of traditional folk and fierce hard rock, where violin and electric guitar duel for the audience's attention. A diverse background created by sax, drums, percussion and bass complements this combination. Keywords: power, finesse and playful virtuosity.
The band's name is a slang phrase which means "whatever" (at least in their home province of Jämtland in northern Sweden). In their case, it could just as well mean; "things will take care of themselves." Despite sometimes chaotic organizational methods, none of them are able to explain how they have managed to perform on almost every major Swedish television and radio program and in North America. Looking at their individual schedules, it's a wonder that the band can get together to play at all.
01 - Slentbjenn
02 - Timas Hans
03 - Myhropolska
04 - Grovhalling (Sample in right panel)
05 - Tjangel
06 - Okynnesvals
07 - Klarinettpolska
08 - Grottan
09 - Kerstins Brudpolska
10 - LP-Schottis
11 - Skvadern
12 - Stilla
13 - Jamtlandssangsvalsen
Gustav Hylén: Trumpet
Kjell-Erik: Eriksson Fiddle
Pedro Blom: Bass
Björn Höglund: Drums, Percussion
Jens Comén: Saxophone
Bo Lindberg: Guitar, Accordion
↧
Camerata Meiga - Habelas Hailas [1999 Spain] @320
A tip from our friend Aqualung
Galician traditional music has seen a remarkable advancement lately. Yet, in most cases, people have tended to set their eyes and ears on sounds very much influenced by Celtic music and 70s folk music. However, the members of Camerata Meiga try to approach traditional music without any preconceptions. All influences are deemed valid. Much in the same way, the instrumental forces they use, the choice of repertoire and the resolution of rhythms are born of crossbreeding and of the breaking of any imposed boundaries between musical fields.
Galician traditional music has seen a remarkable advancement lately. Yet, in most cases, people have tended to set their eyes and ears on sounds very much influenced by Celtic music and 70s folk music. However, the members of Camerata Meiga try to approach traditional music without any preconceptions. All influences are deemed valid. Much in the same way, the instrumental forces they use, the choice of repertoire and the resolution of rhythms are born of crossbreeding and of the breaking of any imposed boundaries between musical fields.
Camerata Meiga started off as the natural development of a previous musical existence as Xeque Mate (Checkmate). They had recorded two albums under that name: Paisaxes (Landscapes, Clave Records, 1995) and Alén da lenda (Beyond legend, Ediciones Resistencia, 1997). Both recordings and the band’s live tours garnered applause from the critics and were very well received by the public.The result of the musical evolution of its members and their joining forces with three new musicians is this new vision of Galician music which goes by the name of Camerata Meiga.
The musicians in Camerata Meiga have an extended background in Music, written with a capital M, because they find no real differences in it, but just a mere convenient way of pigeonholing: folk, traditional, classical, pop, and so on.
Between March and May 1999 Camerata Meiga recorded their first CD for Ediciones Resistencia. It benefits from the collaboration of Portuguese singer Amélia Muge and Juan Alberto Arteche as producer. The title of the album, Habelas hailas, refers to a popular saying in Galicia: Meigas (witches) do not exist, but... «habelas hailas» (there are definitely some of them around).
Camerata Meiga’s live debut took place in January 1999 at the Ninth New Music Festival in León, followed by a show at the Jerez Folk Festival 99.
01 - Praza Do Ferro
02 - A Tentacao
03 - Brincadeira
04 - Ai La!
05 - Bailai Ben
06 - Camino De Prata
07 - Danza Do Entroido
08 - Da Follina Dunha Rosa
09 - Canto De Sereas
10 - Introduccion E Jota Do Obradoiro
11 - Marcha Do Pelegrin
12 - Adios Meu Menino, ¡Adios!
13 - Mare Vostrum
14 - Hora Meiga
José Amador: violin
Nacho Casas: sax and recorder
Víctor Gil: cello, mandolin, rebec and guitar
Carlos Iglesias: piano, accordion, guitar and Egyptian oud
Miguel Forneiro: marimba, keyboards, accordion, bagpipe
Rubén Giorgis: double bass
Tino Mojón: percussion
↧
↧
Startijenn - El-TaQa [2013 France / Bretagne] @320
For a long time, Startijenn was this band of ultra-talented teen-agers, full of energy (startijenn in breton language ), that fired-up fest-noz, powerfully mixing traditionnal music and rock. These young lads brought a fresh and new sound into the fest-noz field, but also into world music. Fifteen years later the kids have grown, and their talent also. Their minds and ears open on the world, and thanks to the hundreds of musical encounters that ponctuated their musical carrier, they integrated to their original sound different inspirations drawn from music from all over the world. (La Carene - Concert Hall) Fifteen years after their beginnings, and after performing all over Europe, the most rock'n'roll band of the fest-noz scene decided to reinvent itself, to reinterpret their most well known tunes for a new show called El-TaQa. The singer Sofiane Saidi, inspired by Cheika Rimiti, Oum Kalthoum, Otis Redding, incorporates his voice and his language to the compositions of the breton musicians. On stage, his charisma, his rap and traditional style will surprise the audience. Between breton and algerian music, rock and hip-hop : we promise you a heated atmosfere.
(Sylvain Girault - Festival Eurofonik)
Tracklist:
01. Mwalfa (6:08)
02. Istakhbar (2:21)
03. Pakit holl Sidi Bel Abbès (6:44)
04. Ketrou lefkar (8:08)
05. Hir ! (6:40)
06. Noz ar zapaj (5:06)
07. Gamil El-TaQa (5:40)
08. Droug-red (5:58)
09. Gasbah El-TaQa (6:47)
STARTIJENN:
Tangi LE GALL-CARRE : button accordion
Tangi OILLO : guitar
Youn ROUE : bombarde & voice
Lionel LE PAGE : biniou, bombard & uilleann-pipes
Kaou GWENN : percussions
01. Mwalfa (6:08)
02. Istakhbar (2:21)
03. Pakit holl Sidi Bel Abbès (6:44)
04. Ketrou lefkar (8:08)
05. Hir ! (6:40)
06. Noz ar zapaj (5:06)
07. Gamil El-TaQa (5:40)
08. Droug-red (5:58)
09. Gasbah El-TaQa (6:47)
STARTIJENN:
Tangi LE GALL-CARRE : button accordion
Tangi OILLO : guitar
Youn ROUE : bombarde & voice
Lionel LE PAGE : biniou, bombard & uilleann-pipes
Kaou GWENN : percussions
INVITES:
Sofiane SAIDI : singing (Natacha Atlas, Yog Sototh, Tukuleur, Naab)
Jérôme KERIHUEL : percussions (Didier Squiban)
Erwan MOAL : electric guitar (Le Bour-Bodros Quintet, Kadja, Christian Lemaître)
Erwan VOLANT : bass guitar (Olli & the Bollywood Orchestra, Hamon-Martin Quintet, Gilles Le Bigot, Sylvain Barou)
Sofiane SAIDI : singing (Natacha Atlas, Yog Sototh, Tukuleur, Naab)
Jérôme KERIHUEL : percussions (Didier Squiban)
Erwan MOAL : electric guitar (Le Bour-Bodros Quintet, Kadja, Christian Lemaître)
Erwan VOLANT : bass guitar (Olli & the Bollywood Orchestra, Hamon-Martin Quintet, Gilles Le Bigot, Sylvain Barou)
↧
Maria Kalaniemi & Timo Alakotila - Åkerö [2012 Finland] @VBR
Accordionist Maria Kalaniemi and pianist Timo Alakotila have been working together for more than two decades. During this highly active and productive period collabrating in many formations,most notably as prime components in the contemporary acoustic ensemble Aldargaz,Maria's and Timo's musical alliance has grown as tight and as complimentary as can be imagined.Simultaneously soloists and accompanists,with instruments themselves that are both solo and accompanying instruments,Maria and Timo play extraordinarily sympathetically with each other,both deeply sensitive to the roles and relations of each other's hands,as if all four were part of the same being.
During these twenty years of playing,performing,composing and arranging together,each element of Maria's and Timo's musical style and character,individually and collectively,has matured:their virtuosy continues to improve to increasingly staggering levels while the delicate melodic force of their arrangements and compositions grows ever more potent.The ease and lightness of the performances creates a feeling of space and timelessness
that,like all Timo's and Maria's music,seduces and subdues like nothing else.
01 - Åkerö
02 - Syyssoitto
03 - Koskaan et muuttua saa
04 - Kaipaus
05 - Viola
06 - Yötuulet
07 - Kohti Pispalaa
08 - Trädet
09 - Grönbacka
10 - Kengo-Antas vals
11 - Ta in hiid in fiol
12 - Vaiennut viulu
13 - Silta
14 - Soittajan kaipuu
Maria KALANIEMI: Accordéon
Timo ALAKOTILA: Piano
Guests:
Tero LINDBERG: Trompette
Heikki POHTO: Saxophone alto
Antti RISSANEN: Trombone
Anssi NYKÄNEN: Drums, Percussion.
↧
Tannas - Oighreachd [1994 Scotland] @320
.jpg)
Brilliant! What a debut album this is from Tannas, a five piece band who met while playing in Edinburgh's session scene. Tannas are: vocalists Sandra and Doreen Mackay (sisters), fiddler Julia Legge, Jason Dove on keyboards/accordion and Mike Garden on guitars, with guest percussionists Jimmy MacLeod and Stevie Lawrence.
The sound Tannas produce is pure, clear and peaceful. The voices soft and true, the instrumentation calm and uncomplicated. The album is well balanced, with twelve tracks split between nine Gaelic songs and three instrumentals, some being sets. You will hear mouth music, at least one waulking song and a song which was originally a piobaireachd (piper's lament). Most of the tracks are traditional pieces arranged by Tannas but also included are songs by the MacDonald brothers of Runrig, the Melbost Bard Murdo MacFarlane, a lyric by Ewan MacColl and a reel by Phil Cunningham. In our opinion the most beautiful song is "Canan nan Gaidheal" - The Language of the Gaels, which opens the album. The vocal is ethereal and a stunning bass drum like a heartbeat cuts in after the first verse.
We understand this is the first of the three album deal Tannas have signed with Klub Records, the next is due in August 1995 and we really can't wait. We thought of making comparisons with other more established bands but this album by Tannas deserves to stand alone. We hope they continue to make such beautiful music together for a long time to come.
01 - Canan Nan Gaidheal
02 - Sabhal Ia'n Ic Uisdean
03 - Abu Chuibhl
04 - Look Behind You
05 - Tuireadhiain Ruaidh
06 - The Battle Of Waterloo
07 - The Session Set
08 - Eilean Beag Donn A Chuain
09 - A Fhleasgaich Oig Bi Furachail
10 - Bodachan Cha Phos Mi
11 - Cearcall A Chuain
12 - Cha Teid Fionnlagh A Dh'eige
Sandra and Doreen Mackay (sisters): Vocals, fiddler
Julia Legge, Jason Dove: keyboards/accordion
Mike Garden: guitars
Jimmy MacLeod and Stevie Lawrence: Percussion
↧
Tannas - Rù-Rà [1996 Scotland] @320
Gaelic music is hard to come by in the early 21st century, but the Scottish band Tannas is one of the genre's most earnest supporters. The multi-membered band has received rave reviews from the likes of the European magazine Q (they were picked as one of the top five folk albums in 1995), won the Interceltique Folk Group Competition at L'Orient in 1995, and has taken album of the year honors by major Italian radio stations. While the band has appeared on several different compilations along other artists (1996's Rough Guide to Scottish Music, 1999's Celtic Voices, etc.), Tannas has also recorded 1995's Oighreachd (Heritage), 1996's Ru Ra and 1999's Suilean Dubh (Dark Eyes).
01 - Mairead Nan Cuiread / The Bob Parsons Strathspey
02 - O Ho Na Ribeannan / Sean Truibhas / Faca Tu Saor An T-Sabhaidh
03 - The Old Hags Set / Lucy Cassidy / Ruidhleadh Cailleach / An Drochaid Chluiteach / The Smith Of Killiechassie
04 - Nach Fhreagair Thu, Cairistiona
05 - Cum 'Ur Gealladh
06 - 'Si Morag
07 - Coill' An Fhasaich
08 - 'N Uair Bha Mi Na Mo Mhaighdinn / B'fhearr Mar A Bha Mi'n Uiridh
09 - Mrs. Mary Stitt
10 - Caillte A Chaoidh
Sandra and Doreen MacKay (sisters): Vocals
Malcom Stitt: guitar, bouzouki, highland pipes
Julia Legge: Fiddle, backing vocals
↧
↧
Tannas - Suilean Dubh [1999 Scotland] @192
I do not know whether it is quiet in Scotland, having come no closer to that fabled land than the odd can of Tennant's Strong Lager. I do know that there is little quiet, little peace, where I live; each nap, every reverie is subject to clamorous intrusion by emergency vehicle sirens, cruising hip-hop sub-woofers, even the pop and rattle of gunfire. Provided I play it loud enough, this second release from Tannas, the duo of Amy Geddes and Sandra Mackay, offers 46 minutes of aural asylum from urban America. And no matter how loudly "Suilean Dubh"
played, a deep peace flows from its traditional and traditionally styled pieces, updated for the new millennium by fine supporting musicians with electric guitars, synthesized keyboards, creative percussion, and loops. This paradoxical peace is not of the insipid New Age sort, living musical traditions melted into anonymity by synthesized solvent, but the result of carefully calibrated instrumental production, and especially of Mackay's pretty lead vocals, calming even on lively numbers, assuming an aching and fragile loveliness in harmony with those of Geddes.
"Suilean Dubh" is unique in its tasteful melding of contemporary and traditional Celtic musical influences, neither sacrificed in the bargain
Jim Foley (rootsworld.com)
Jim Foley (rootsworld.com)
01. Suilean Dubh
02. Seallaibh Curaigh Eoghainn - The Lochaber Badger
03. Andy's Saltire - Fear a Bhios Fada Gun Phosadh
04. Illean a I
05. Bi Falbh O'n Uinneig
06. 'S Toigh Leam Cruinneag Dhonn Nam Bo (Tribute to Na H-Oganaich)
07. Catharis - Haighaidh - Lexy Macaskill
08. Air a' Ghille tha mo Run
09. Caitlin
10. Thoir Dhomh do Lamh - Ruidhleadh na Coilich Dhubha
11. Buain na Rainich
↧
Sylvain Barou - Sylvain Barou [2012 France] @256
FY: Fantastic album, Enjoy it!!
"Sylvain Barou is undoubtedly one of the greatest flute players of his generation. He has recorded his first solo release in 2012 on which he invites some of the biggest names in traditional music today. An album at the crossroads between Celtic (irish & breton) and oriental music. Finally a more personal work after having worked with the top musicians of the scene and participating to about 50 albums as a guest soloist.
A promising album, an outstanding crew !"
"Sylvain Barou, the breton flute phenomenon, released this solo album in April 2012, he describes it a log book of the work of the last 10 years. Breton and irish music are well represented of course, but Middle eastern influences also bring colors to this magnificent release. A true masterpiece for a debut solo album."
01 - The Naga Jigs
02 - Horos
03 - Margaretig (intro)
04 - Ton Doubl Plinn
05 - Mare Nostrum
06 - The Windy Set
07 - Ridées
08 - Esfahan
09 - Alborada
10 - Mélodie Kozh
11 - Shah Kokojaan
12 - JD's reels
13 - Kreiz an douar
Sylvain Barou: flute
Dónal Lunny: bouzouki, bodhràn
Jacques Pellen: 12 strings guitar
Ronan Pellen: cittern
Julien Stevenin: double bass
Keyvan Chemirani: percussion (zarb, daff)
Prabhu Edouard: tabla, kanjira
Gilles Le Bigot: guitar
Youenn Le Bihan: bombarde
John Doyle: guitar
Liz Carroll: fiddle
Ed Boyd: guitar
Stelios Petrakis: lyra, lavta
Hamid Reza Khabbazi: tar
Florian Baron: oud
Rubén Bada: bouzouki
Alain Genty: fretless bass
Padraig Rynne: concertina
Paul McSherry: guitar
Méabh O'Hare: fiddle
Donal Lunny's liner notes on the CD:
"In the course of my musical career - particularly in the earlier
years, I have wandered in and out of many different genres of music.
Looking back on the journey, it feels like just that; a meandering
exploration which lacked a particular direction until one day I
realised that I was more connected with Irish music than any
other.From then on, the itinerary became simpler; a more direct route,
but not without occasional diversions into other regions, which
helped, and still help to replenish my passion for music generally.
Extending the analogy of travel and exploration to Sylvain, I think of
him as a mountaineer. Not only is he avidly interested in music from
every corner of the world, but he also seeks out challenges; peaks of
musical achievement which can normally only be accessed by musicians
who have been born into their particular culture, and who have served
arduous apprenticeships in their chosen disciplines. Reaching these
heights demands a degree of musicality one encounters only
occasionally.
This album is an exotic collection of music by any standards. In the
traditional tunes, the listening experience is all the more intense
and exhilarating because of the depth to which Sylvain has penetrated
the culture from which each piece originates. And in the treatment of
the newly composed pieces, the buoyant dynamic power and fluidity of
the playing is obvious.
The ongoing pursuit of musical knowledge and technique will continue
to inform and improve Sylvain's playing in different ways; most
importantly it will enable him to keep giving joy and pleasure to
those who listen to his unique voice. I feel honoured to share this
part of his great journey."
Dónal Lunny
Jan 2012
Recorded and mixed by Sylvain Barou
Mastered by Marco Migliari - Realworld Studios, UK
↧
Norbert Pignol - Silence [1999 France] @192
Infant terrible of the gernaoble scene and 'self taught' improviser, Actually he's really hot on the 'theory'! Accordéonist Norbert has starred in groups Dédale, Obsession, as a duo with Stéphane Milleret and solo. His recent (2012) gigs tend to be either solo or with Stéph in MKF trio. He's run the French Improvisation course in val d'Isere for over 25 years. Into jazz and free expression of all sorts, but always grounded in the French tradition and at his best about 1.00 am.
01. Arsenic au vin rouge
02. Tant qu'elle fredonne !
03. Diatonium
04. Silence
05. Les rails du destin
06. Chansonnette perturbée
07. Sonatrad (invention en Ré majeur pour orchestre alliant musique
traditionnelle, improvisation et forme sonate)
Norbert Pignol: (diatonic accordion), compositions
↧