FolkWorld Issue 36 07/2008
Label:
Cló Iar-Chonnachta;
CICD170; 12 tracks; 43 min
Tyrone man McKee possesses a voice somewhere between MPE and Kila: raw, tortured, tearing at you, very effective on his Belfast ballad Bradley and the Troubles content of Dignity Beyond the Flowers and The Bomb Went Boom. His nostalgic Paddy's Day song The World Around doesn't pack the same punch, but provides a nice change of mood and tempo, The arrangements are delicate and robust by turns, with good use of guests on cello, bass and vocals. The whole CD held my attention through fast and slow, songs and tunes alike. As debuts go, this is first rate. It should be easy to find on the CIC label.
www.islandeddy.com
Alex Monaghan
Label:
Navigator Records 4; 9 tracks; 61 min
I think what makes Lau special is their ability to switch between the slow, melancholic, almost English airs and the full-throttle fevered frenzy of modern Celtic reels. Drever's sensitive guitar becomes a Kalashnikov at the drop of a chord. O'Rourke has one of the purest fiddle tones I know, but when his head goes down and his knee comes up he can saw and scrape for Scotland. Green is well known for his Jekyll and Hyde characteristics, not only in his box-playing. Some of the polished beauty of Lau's music is lost in a live setting, but the extra spark more than makes up for this. Butcher Boy has an added urgency, and the 14-minute Lang Set sprouts demonic wings. After another haunting ballad, O'Rourke's trademark lyrical Hinba builds up to more madness before the gorgeous closing air. You won't often hear a more exciting and absorbing trio. If you haven't heard them yet, now's your chance.
www.lau-music.co.uk
Alex Monaghan
Label:
Own Label; 12 tracks; 62 min
The opening medley starts with a bouncy piano air, then slips into reels: Beoga and Sam's Tune inject pace and power. Karen's Moonbeam Passage is a total contrast, low and wistful, almost mood music. Reverof shifts to Parisian waltzes, followed by Chris Wood's driving Lusignac. Emma Reid leads her air Great Uncle Henry, a charming and spirited celebration. The English tone continues with the swaggering march Ensuite Barn and the organised mayhem of Spaghetti Panic from the Late Blowzabellan era of English folk. A couple more airs written for Karen's friends lead to a medley of cracking if ill-omened jigs, then a lovely tribute to lamented genius Joe Scurfield, and an equally beautiful slow polska. Timo's Jig by Roger Tallroth is more of an exercise than a melody, but Alakotila's piano is invogorating here as elsewhere. The final big set starts with Gettingen Polska and follows that with two great Kerry polkas: maybe it's just me, but the Irish tunes seem to cause a large spike in the musical energy levels. Karen's own Orlando Polecat keep those levels high to round off the track. Timo finishes the album with a piece for his sister, Lumen Valossa, a piano and accordion duet, a beautiful conclusion to an unusual but rewarding CD.
www.myspace.com/maymonday
Alex Monaghan
Label:
GO Danish Folk;
GO-0608; 13 tracks; 49 min
Among the songs from John Pilkington, three stand out for different reasons. The Wild Colonial Boy is just a dog-eared ballad in the hands of many singers, but here it is sharp and fresh. What Will You Do is known in many versions, and Moving Cloud do a fine job of theirs: they also have the inspired habit of tacking a tune onto the song, thereby enhancing both. The Peeler and the Goat is an old favourite fallen out of favour, and it's high time it was back in vogue with its catchy melody and gently ironic lyrics. Moving Cloud present music a cut above the usual Irish pub band fare. Ballads like The Girl I Left Behind and Around the Hills of Clare are sung with gusto and delicacy. The New Found Out and Owney Davey's Reel fairly scamper along. The jigs are not quite so strong, and there's some fragile flute-playing, but the fiddle and whistle do a fine job throughout. Touches of trumpet, and a great hand-and-foot percussion duet, add that special ingredient. This is a class act, doing full justice to Donal Lunny's careful production.
www.movingcloud.dk
Alex Monaghan
Label:
Own Label; 14 tracks; 46 min
Noel adds to his Eb, D and C flutes with a couple of tracks on whistle. The deep resonant tone of the title slip-jigs could be a wooden whistle or a Susato. Alan Kelly's Wing Flapper finishes this set with a lovely swagger. Not Safe with a Razor sparkles on the high D whistle, leading into Brian Rooney's Reel. In between is a set on the high-pitch flute including Westering Home, a jig-time version of the song, usually known as The Muckin' o' Geordie's Byre in Scotland. A Scott Skinner slow march continues the Caledonian connection, followed by another set of reels which names one of Tommy Peoples' well known tunes as The Merry Bachelor.
The Whinny Hills is a blend of old-style Leitrim flute-playing and some very modern arrangements. Piano, guitar, strings and percussion produce a range of moods. Although Noel numbers John Blessing and Jim Rawle among his mentors, the backing on a few tracks here would have been quite foreign to musicians of their era. However, they might not have been surprised by the pair of jigs which precede the final track as Noel picks up the alto sax, showband stalwart of many years, for Carl Hession's Rambles of Mike and the wonderful Connie O'Connell's Jig. Three great reels round things off: The Lansdowne Lass, The Coalminer and The Tailor's Thimble, ending a very fine album of delightful and intriguing Leitrim music. If you see it, buy it. If you don't see it, email Noel.
noel-sweeney@hotmail.com
Alex Monaghan
Label:
Own Label; CAWCD001; 13 tracks; 46 min
The Perfect Squeeze is a fifty-minute roller-coaster ride, never dull and certainly not predictable. Norman includes eight of his own distinctive melodies, including one dedicated to his fiddler friend Carrie Thomas. One of Carrie's compositions is also featured here, as are tunes by Donald Shaw, J-P Cormier and Allan Henderson. There's a bit of percussion, quite a lot of fiddle, and a few other touches, but it's really all about the box. This is an album for serious accordion enthusiasts, and for those who like their music served hot and rich with plenty of gravy. There's a bit of everything, not unlike a good curry, and occasionally some of it slides off the plate. If you're looking for full flavour and you don't mind the occasional splatter, this could be the perfect CD for you. It's not something you'd manage every day, though. Give it a whirl at www.normanmackay.com and see how much you can keep down.
www.normanmackay.com
Alex Monaghan
Label:
Own label; 10 tracks; 35 min
The six instrumental tracks include one slow air, the rest being jigs and reels. Influences from Wolfstone and other Scottish bands add to a mild folk-rock feel on Stíofan's Rils and Lost The Plot, whilst Brendan Tonra's is straight Irish trad sweetly played. The air The Colours of Cape Breton, written by Phil Cunningham, flows beautifully from accordion and flute. Gordon Duncan's jig The Famous Baravan sparkles on the whistle, as does Fight Or Flight by Sheila. The Rooneys also boast two champion bodhran players, and their sparse guests include a world champion drummer, so the beat is clear enough. Where have You Been? is a delightful surprise, and all too short.
www.therooneyfamily.net
Alex Monaghan
There's plenty of rattling good reels, some fine new jigs including Na Deora Mora, and those Daybreak Polkas in fine Kerry style. The only track that wasn't to my taste was The Flooded Road, starting with a rather jerky waltz and moving into a fine rendition of Jimmy McHugh's reel The Flooded Road to Glenties which is unfortunately marred by the World Music backing. Elsewhere the accompaniments complement the fiddle fairly well. Sam is joined by Englishmen Luke Daniels and Tim Edey, as well as a number of other sidemen. His twin sister Kate duets on flute for the final Chloe's Passion set, the title coming from Dr Angus MacDonald's slip jig, rounded off by delicious Munster Bacon. If I've whetted your appetite for this CD, try www.samproctor.com for a couple of samples.
Label:
Higlet Recordings; HGR 081; 12 tracks; 46 min
www.samproctor.com
Alex Monaghan
Label:
Raj Records; RAJCD 003; 10 tracks; 44 min
With a dozen compositions from the band, the other half of this ten-track CD draws on traditional tunes and pedigree composers. Sporting Paddy lends an Irish flavour to a set which includes John Morris Rankin's Hull Reel. Gordon Duncan's Jig O' Beer follows Duncan the Gauger, unusually attributed to Evan Macrae. The Sleeping Tune is one of Gordon Duncan's finest, and gets a melancholy treatment from Session A9. Struy Lodge, credited to Willie Ross, and Far From Home are traditional reels nicely handled. Ross Ainslie's Dirty Bee provides the big finish, a satisfying climax to an excellent album. Never mind the width: Session A9 have produced a quality recording here. Fiery fiddle, rippling keyboards, a good solid beat and lots of little extras.
www.SessionA9.com
Alex Monaghan
Label:
Own label; 2007; 13 tracks, 47 min
Despite their ages of between 15 and 18, this is not just a bunch of teenagers playing Scottish music. Sgiobalta have organised themselves, promoted themselves, and are proud of their self-motivated and self-funded success. They are also aware of their debt to the Feisean movement where many of them met, to the folk clubs and older musicians who have supported them, and to the music which they love to play. Their attitude reminds me of a young Moving Hearts collective. Sgiobalta doesn't seem to be about fame and money (although they probably wouldn't object): it's about music and people and culture. For me, that's an important part of traditional music. Sgiobalta deserve all the support we can give them. They also win my prize for the most attractive CD cover of the year.
www.myspace.com/sgiobalta
Alex Monaghan
Label:
Own Label; 22 tracks, 63 min
The forms and styles of the church music are stately, with ringing harmonies, quite unlike dance music. Vir Iste, Salve Splendor and Pater Columba are more like pieces of the liturgy. Even Ex Te Lux Oritur, which seems to be set to a Scottish jig, is slow and dramatic rather than the even rhythm required by dancers. There's more than a hint of pipe music in The Battle of Harlaw, and again in the several airs attributed to Fingal. Da Mihi Manum strikes a very different note, not the smooth polished air of Planxty's 1973 Tabhair Dom Do Lamh but a rough-hewn melody with harsh polyphonic ornamentation. Other relatively well-known pieces are Port Lennox, Port Athol, Rory Dall's Port and Lude's Supper, all previously recorded on metal and gut harps, but here in slightly different versions.
Whether or not you believe that pibroch grew out of harp variations, the showpiece Lament for the Bishop of Argyll is an impressive and intricate work. There are more piping infuences in the final Flowers of the Forest, a little known version of this classic Scottish lament. With over an hour of music, there's plenty to interest harp fans on Clarsach na Banrighe. As entertainment it's pretty heavy at times, but as a store of new and inspiring sounds it comes close to the seminal recordings by Ann Heymann. Well worth a listen.
Www.earlygaelicharp.info
Alex Monaghan
Label:
Whirlie DVD 01 (CD version available); 47 tracks, 229 min
Kicking off with two of Aly Bain's brilliant bouncy reels, there's too much good stuff to list. Sharon Shannon slays The Swedish Jig. Jenna Reid duets with Aly on her soulful version of Hector the Hero. Fred Morrison plays his own Lochaber Badger, and when he and Mike McGoldrick pick up the pipes for Rip the Calico it stays ripped. Catriona McKay's Swan LK 243 speaks for itself, even without Aly and Jerry. The final chase through Sail Away Ladies and Walking in the Parlour combines Americana and Celtica with a big dollop of Nyah and Yeeha! There's room enough for some exquisite performances from Jerry Douglas, Phil and Aly, and other house band stars too.
On the song side, Julie Fowlis sings a couple of Gaelic classics. Karen Matheson pumps out a stirring medley of mouth music. Cara Dillon sings P Stands for Paddy and The Streets of Derry. Paul Brady returns to his roots with The Lakes of Pontchartrain, and is joined by the chorus line for a couple of his own songs. The camera work and sound quality are excellent, the scenery is breathtaking, the sleeve notes are more than sufficient, the calibre and quantity of music is prodigious. The style ranges from highland to hillbilly, front porch to fiery poteen, all good. No complaints from me: this is one hell of a DVD. Most of it is also available on CD. Google it!
www.philandaly.com
Alex Monaghan
Label:
Own Label; TROLLEY-04; 12 tracks; 68 min
Current favourites and fiddle classics jostle for space throughout this CD. The Marquis of Huntly, Kohler's Hornpipe, Pottinger's Reel and Gladstone's all show slightly different aspects of Scottish music. North of the Grampians starts another ten-minute monster medley of strathspeys and reels, ending with some very fancy bowing on The Irish American. The Magnet, The CBC Reel, The Road to Errogie and a couple of catchy Dave Greenburg jigs are the modern face of fiddle music, and Troy's own compositions fit in well. The only slight disappointment is Gordon Duncan's Pressed for Time, an extremely challenging pipe tune which hasn't transferred too well to the fiddle.
Troy is also one of Nova Scotia's finest pianists, and the Piano Reels set here shows off his considerable talent. The Bird's Nest is a lovely old reel, and The Devil & The Dirk flows beautifully. Troy stays on the ivories for the slow air. Allan Dewar plays back-up piano elsewhere, and Dave MacIsaac shares the guitar credits with Brad Davidge. The final member of Troy's crew is his sister Sabra who provides gentle bodhran and bits of foot percussion as well as a step-dance showcase track, to the big King George IV strathspey and John MacNeil's Reel. The final march, strathspey and reel combination draws deserved applause as Troy thanks his accompanists, and there you have it: another outstanding recording from those sickeningly talented Canadians with the funny names.
www.troymacgillivray.com
Alex Monaghan
Label:
Navigator Records;
12; 11 tracks; 46 min
John Spiers and Jon Boden are supremely good at what they do: strong dramatic arrangements of folk songs, good clear vocals and pleasing harmonies, supplemented by dance music and airs on fiddle and melodeon. You won't find many acoustic duos with a fuller sound. The Englishness is clear and inescapable with modal tunes, simple but effective chords, and timeless lines like "The salt fish in the brook" or "Our ship was sailing from the east and going to the west". Still, no worse than Lyle Lovett's "Me upon my pony on my boat", and Spiers & Boden's delivery is exemplary. Vagabond is one of the best English folk recordings I've heard in years, fresh and energetic, expertly played and just that little bit different. Worth checking out, I'd say.
www.spiersandboden.com
Alex Monaghan
Label:
Borealis; BCD189; 13 tracks; 49 min
In between are moments of instrumental brilliance: crazy piano on La Piastre des Etats, a version of Roxburgh Castle apparently learned from Shona Mooney, deep grinding hurdy-gurdy from Nicolas Boulerice on Les Larmes aux Yeux, with Demers' fiddle and Rejean Brunet's box on several saucy reels and jigs. The sombre song Le Vieux Cheval starts something of a blue period, including Petit Reve 3 and ending with Demers' poignant L'Heure Bleue. La Fille et les Dragons finishes this recording in fine old style, providing a happy ending where most traditional ballads would have had suffering and death. Full of surprises, Le Vent Du Nord have pulled another rabbit out of the hat with Dans les Airs.
www.leventdunord.com
Alex Monaghan
Label:
Wild Goose; WGS350CD; 17 tracks; 56 min
There seems to be more than a little Welsh influence in some of the melodies, Ellesmere Quick and O What a Row being two examples. There's also a strong military flavour, not surprising given the Napoleonic era from which much of this material comes. Names such as Wellington's Victory and The Shropshire Hero are warlike enough, but The Soldier's Cloak, Worcester Farewell and Sally's March may say more about the people left behind. Of course not all these tunes are completely unknown: Lady Montgomery's Reel is common enough in other traditions, The Oak Stick is a close relative of a tune I know as The Randy Wives of Greenlaw, and there are other familiar measures, but most of the tunes here will be new to most people. Sitting between the Welsh and English traditions, with an ear for a good tune whether it be French or Irish, these Shropshire scribblers have preserved some fine stuff and The Whitchurch Hornpipe is very welcome as both a source recording and a relaxing hour of regional music.
www.wildgoose.co.uk
Alex Monaghan
Label:
Own Label; 14 tracks; 79 min
Kane O'Rourke's flutes and fiddle are handy enough, but it's the arrangements which make this such a compelling listen. There's always something going on, from double-tracked low whistle to laptop loops. The vocal tracks are raw and heartfelt, whether it's Eamon McDonagh on May Morning Dew, Alan Burke on Conamara or Peter Coughlan on Make and Break Harbour. Kane has musician friends too: there's a lovely bit of piping from Eanna Cronin on The Old Bush. Sean Ryan's shows off Kane's bodhrán ability with evocative African-style percussion behind the reels. The Kilkenny builds to an impressive climax. Then we get Mamo, almost as an afterthought: eat you heart out, Paul Mounsey. The Jolly Tinker is well worth seeking out, maybe at Kane's myspace page. I'm intrigued to see what direction this man takes now.
www.myspace.com/kaneorourke
Alex Monaghan
Label:
Own Label; FSCD0001; 14 tracks; 49 min
Fergal Scahill's playing is strong and rhythmic. The Hag at the Churn is attacked with gusto, and the horsehair is almost alight on The Boys of the Lough. There's more testosterone than tone at times, but that's fine by me: a good fiddler needs a bit of the devil in him. Mairtin O'Connor tunes The Celebration Reel and The Long Lane accentuate the playful bedlam of Fergal's music, reminiscent of Reeltime or Nomos at their best. Two big numbers finish the album, The Spike Island Lasses paired with one of Paddy Fahey's well-known reels, and finally the enchanting air Port na bPucai given a stunning six-minute treatment. There's a bit of rhythm guitar, a bit of sean-nos stepping, some fine piano accompaniment from Ryan Molloy, and the rest of The Dusty Bridge is Fergal's fiddle. Impressive and powerful.
www.fergalscahill.com
Alex Monaghan
Label:
Clo Iar-Chonnachta;
CICD172; 15 tracks; 49 min
Catherine's trusty Rudall & Rose flute is put aside for eleven tracks, to be replaced by three of Michael Grinter's instruments. The range of tones, from Eb to C, plus the four Rudall & Rose tracks, make this album a fascinating comparison of flute characteristics as well as a delightful fifty minutes of Irish music. On the earthy C flute, Catherine has a lovely touch and is in total command of the music: Elizabeth Kelly's Favourite and Follow me Down to Limerick are perfectly paced examples. The high Eb is heard to great effect on Major Moran's and The Mystery Reel. The opening track is one of my favourites, session tunes Rolling in the Ryegrass and The Traveller on her familiar Rudall & Rose. There's only one air here, the gorgeous Bánchnoic Eireann O, played on the Grinter C.
Most of the material on The Home Ruler is of long and ancient pedigree, but there's a handful of compositions by twentieth-century musicians and Catherine has included three of her own tunes. Dancing at Kilbrew is a charming jig named for a place just round the corner from Catherine's house in Meath. Dermot Grogan's Farewell and The Curskeagh Lasses are both powerful reels. Catherine is joined on piano by Felix Dolan as usual, and also by Geraldine Cotter and nephew Paddy McEvoy. Steve Cooney plays guitar on a few tracks, and Joe Kennedy provide just the right amount of rhythm on the old Irish frame drum. Highly recommended.
www.cic.ie
Alex Monaghan
Label:
Own Label; 12 tracks; 39 min
One of the best things about this recording is the new tunes and techniques which have emerged in the short time since the Borders pipes were revived. Gordon Mooney, an early mover in the current revival, penned the powerful Shona's Reel for his fiddler daughter, and The Upland Way for the hiking trail that runs past his house: there are strong echoes of MacCrimmon's Lament in this melody. Gaby's March is an altogether more cheerful tune from the Scottish Salsa school of piping, and Waite's Reel joins 17 Minutes to Midnight in Chris Waite's thoroughly modern medley. I should mention that Marc Duff, Angus Lyon, Shona Mooney, Ian Anderson and Brian Maynard add their genius on several tracks: whistles, box, fiddle and strings all gel well with the pipes. There's plenty of variety on this CD, and lots of good music.
www.scotborders.gov.uk
Alex Monaghan
Label:
MB Sounds; 2008
Leaving aside the horrifyingly young age of Miss Adamson, this is a prodigious debut recording for any fiddler. Spanning strathspeys to czardas, rags to rich airs, Tammy Norie is fifty minutes of very fine fiddling. Not perfect, but doubtless that will come soon enough - a little more contrast in the march, strathspey and reel, a touch less staccato in places. Maggie is accompanied throughout by Brian Nicholson on versatile Shetland guitar, one of the best in the business. Both Maggie and Brian contribute several of their own tunes to this album, high quality compositions including the implausible Wir Dug dat Ate da Fiddle. All in all, an excellent first venture and a new rising star of Shetland music.
www.myspace.com/maggieandbrian
Alex Monaghan
Label:
Indies; MAM 804 – 2
www.thehogs.eu
Kathy-Ann Tan
Label:
B. Reel Records; BRBCDA-005
www.myspace.com/benreelband
Kathy-Ann Tan
Label:
Own label; 2006
www.saoirsemhor.com
Kathy-Ann Tan
Label:
KraKustiK; Kre200602
www.myspace.com/aprilmoonband
Kathy-Ann Tan
Label:
Sweetbird Records; 0001
www.theginnsisters.com
Kathy-Ann Tan
Label:
Folk4All;
IRR061; 2006; Playing time: 67:07 min
www.folk4all.net
Dai Woosnam
Label:
Recordiau Bos; RBOS 007; 2005; Playing time: 58:44 min
www.particutlloi.co.uk
Dai Woosnam
Label:
Yellow Dog Records;
YDR 1343; 2006; Playing time: 43:24 min
williamleeellis.com
Dai Woosnam
Label:
Compass;
MOZCD 02; 2007
Andy Irvine’s opening song, “O’Donoghue’s”, is a wonderfully jaunty potted history of his musical life. With Liam O’Flynn’s whistle and Donal Lunny’s bodhran and bouzouki, it sounds like the brilliance of Planxty renewed. Bruce Molsky’s following medley of old-time Tennessee tunes – “Sail Away Ladies / Walking In the Parlor” – might have you wondering whether the trend of the album will be successive nods to the musical heritage of each band member: a weld job of disparate influences. But the Molsky-led “Reuben’s Train” achieves a far greater level of musical melding. Starting in the deep south (think Soggy Bottom Boys), it choofs seamlessly into both Balkan and Irish countryside.
But Andy Irvine proves to be the king of Celtic cross-over on his hauntingly beautiful “The Wind Blows Over the Danube”. An autumnal, wistful look at times past, it superbly weaves Irish and Balkan sounds. Parov’s gadulka and kaval add an almost mystical longing to Irvine’s plaintive vocals. The complement is returned on “The Humours of Parov”, with Irvine adding an Irish 9/8 slip-jig to a Bulgarian 9/8 dance to great effect. Donal Lunny then makes a rare foray to the vocal mike, sounding as though he’s learned something from Frank Harte in an almost sean-nos rendition of the trad. Irish song “Mary Mhaggie / Siún Ní Dhuidhir”. Another trad. song, “The Ballad of Rennardine”, proves how embedded Balkan rhythms are in Andy Irvine’s music. He uses the rhythm of a paidushko horo (Bulgarian 5/8 dance) rather than the usual 4/4 time. The result is sublime, lifting an already great song to another level altogether. Music such as Mozaik’s make you glad that Andy Irvine allowed the east wind to blow on him all those years ago.
andyirvine.com
Peter Grant
Label:
Own label; W.EDGE1; 2008; Playing time: 46:08 min
www.corasmyth.com
Walkin' T:-)M
Label:
Indies Scope;
MAM417-2; 2007; Playing time: 47:37 min
www.myspace.com/prostidumi
Walkin' T:-)M
Label:
Noe Records; NOE01; 2007; Playing time: 40:25 min
www.bellahardy.com
Walkin' T:-)M
Label:
EMI; 5099950438020; 2007; Playing time: 65:33 min
www.rachelunthank.com
Walkin' T:-)M
Label:
Own label; BRCD2007; 2007; Playing time: 53:35 min
www.blazin-fiddles.com
Walkin' T:-)M
Label:
Own label; IJHCD001; 2007; Playing time: 54:53 min
www.ian-hardie.co.uk
Walkin' T:-)M
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© The Mollis - Editors of FolkWorld; Published 07/2008
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