THIS ARTICLE CONTINUES FROM
HERE...............................Reviewing a few more Celtic CD's.
(Translated by a computer - Written by Thierry De Fagis (HIGHLAND
MAGAZINE, FRANCE) Issue 33. DEC. 2007
MICK McAULEY & WINIFRED HORAN
SERENADE
(the USA, 2006, Compass Records)
Of start, this SERENADE appears doubly interesting: 1) it
brings together for the first time in duet 2 members of the American
group SOLAS, one of the major references of the Irish music. 2) it
clarifies 2 senior instrumentalists: MICK McAULEY (accordion, flute,
bodhran, guitar and keyboards) and WINIFRED HORAN (fiddle, cords).
Moreover, the duet, which also ensures the vocal parts, is accompanied
by 3 musicians: DONALD CLANCY (guitar, bouzouki, mandoline), CHICO
HUFF (low acoustics) and PAUL GURNEY (low electric). This CD of 12
pieces - including 3 sung - intelligently alternates the compositions
of the two artists and of arrangements of traditional airs "After the
Gold Rush", a resumption of NEIL YOUNG, there also appears "Jug of
Punch Set", the 1st title, characterizes the general atmosphere of
SERENADE: a perfect serenity and an invitation with the voyage... This
real has well charm with its fiddle with the arabesques gypsies, its
fugitive agreements of guitar and its ch?urs planing in dust of
echoes. This acoustic duet violon/guitare is particularly present in
SERENADE: delicate trads, in particular "The Joyous Waltz", "The
Ballygar Jigs" and "The Chorus Real" thus allow delicate escapes, at
the same time merry and délicieusement out of date. As for the
accordion of McAULEY - considered by much a virtuoso of this
instrument, of which it began the training as of... 9 years - it is a
true treat! "Serenade", composition of McAULEY and title of the opus,
with its chatoyant duet fiddle/accordéon, allured by its subtle
harmonies. No doubt: the accordeonnist seasons well sauce as on
hopping trad "The Peerless Hornpipes" with the curious tempo jazzy or
on the melancholic person "Little Mona LISA" - a composition of HORAN
- with the relents of waltz "The Café Milou Jigs" - composition of Mc
AULEY - agreeably alternates fiddle, guitar and keyboards. It is
undoubtedly one of the titles more the charmers, with "Jug of Punch
Set" and "Serenade". In short, this SERENADE of a great delicacy, with
its vapors gypsies of fiddle and its remote perfumes of caravan,
touches by its strange beauty (****).
LUNASA
SE
(the USA, 2006, Compass Records)
Famous group of instrumental Irish music, LUNASA, which began
at the same period that SOLAS, has existed for 10 years. SE -
pronunciation "shay" - is them 6eme album. The formation
includes/understands TREVOR HUTCHINSON (low), CILLIAN VALLELY
(uilleann pipes), KEVIN CRAWFORD (flute) and SEAN SMYTH (fiddle).
Some additional musicians are also reproduced on CD. Very impregnated
of folk music, this group as of the first title plunges us in the
Celtic compost "The Cullybacky Hop" with its circling violin and its
given rhythm acoustic guitar offers beautiful harmonies on a fast
tempo. But LUNASA obviously privileged in SE environments
évanescentes as on "Leckan Mor", pastoral piece, strewn with
delicate parts of flute and uilleann pipes. The light atmosphere of SE
recalls sometimes the musical style of CAMEL, as on nonchalant the
"Absent one friends" or on "Black River", which is illustrated by a
pretty duet flûte/piano. "Two of has Kind", title évanescent but
well removed, still proposes beautiful parts of flute and guitar,
raised by quiverings of uillean pipes. The very pleasant "Loophead",
undoubtedly the most energetic title of SE, offers a charming duet
flûte/piano. The few echoes of uilleann pipes of "Servant boy in the
Boat", given rhythm in devil, conclude SE agreeably. With final, in
spite of some lengths, a pleasant disc. The musicians of LUNASA are
incontestably of excellent designers. Nevertheless, in the field of
the musical innovation, one will be able to prefer some their
contemporaries like the American SOLAS or Irishman KILA (***).
FLOOK
HAVEN
(the U.K., 2005, Flatfish Records)
This 3rd album studio of FLOOK - left in 2005 - is an excellent
surprise. This Anglo-Irish four-bit byte, which has existed for 10
years, offers an Irish instrumental music of most pleasant. The group
is composed of SARAH ALLEN (flute, accordion), ED BOYD (guitar,
bouzouki), JOHN JOE KELLY (bodhran, mandoline) and BRIAN FINNEGAN
(flute, whistle). Some additional musicians are also reproduced on the
opus. HAVEN, with its 9 titles, agreeably mixes the compositions of
SARAH ALLEN and BRIAN FINNEGAN with jigs and real arranged by the
group. Result: a musical pallet enracinée in the folk music, but with
a rythmology almost... jazzy! HAVEN is extremely gravitational with
its accelerated agreements of acoustic guitar, its fast play of flute
and its vibrating African percussions. Also the Celtic nonchalance
Marie harmoniously with the exubérance afro. (One qualifies sometimes
the music of FLOOK of afro-Celt!) But the exotic loans of FLOOK,
contrary for example to KILA, remain relatively discrete and the Irish
side prevails. Of start "The Tortoise and the Hare" introduces us into
this Celtic universe with its pastoral atmosphere with the CAMEL
with felted agreements of acoustic guitar and a vibrating bucolic
flute - instrument fetish of FLOOK, on which the charm of sonorities
"flookiennes rests". The 2nd part of the title, "The Girls in
Boisdale", is the occasion to hear a pretty duel flûte/guitare. And
one quickly appreciates these endiablées parts of flute which point
out to us the harmonic jokes of a JETHRO TULL. "Asturian Way", another
title headlight, offers a very fascinating rythmology with a very
pleasant crescendo bodhran/flûte/guitare. "Gone Fishing", with his
mix of influences Celtic and Eastern and its curious trio
bodhran/flûte/banjo, proposes a musical form of most tempting. Flute
and guitar treat to the share of the lion in "Mouse Jigs", "Souter
Creek" or "Wrong Foot Forward", still allowing pleasant Celtic halts.
There is also in HAVEN of the accordion, the mandoline, the
bouzouki... and even of the vapors of Hammond organ, as on very given
rhythm "Padraig' S". In short, a varied instrumental disc, very
intelligently designed, which is located well above the usual Celtic
instrumental production (****).
BLACKWATER
DEAD & BREAKFAST (France, 2006, the sonotone)
Third disc of a group originating in Frank-comté and
Burgundy, DEAD & BREAKFAST is a beautiful success. Born there are 8
years of a duet accordion (SEBASTIEN LAGRANGE) and uilleann pipes
(GAEL RUTKOWSKI), the formation of BLACKWATER - today sextet -
includes/understands GRAY DIDIER (bouzouki), GILLES SUMMIT (double
bass), JOSEPH MACERA (guitar and song) and DAVID ROUGEOT (cajon,
battery). Moreover, one will be able to hear on this new disc some
invited musicians of which TWIN WHEEL with the harmonica - which in
particular worked with JACQUES HIGELIN and ALAIN BASHUNG.
The result is astonishing: these French play a typically Irish music
but with an extremely original style. They mix trads and personal
compositions, here majority. The opus account 8 titles instrumentals
and 4 sung "And you know/What it means", the first title of DEAD &
BREAKFAST, is particularly eloquent: after pretty a intro made up of a
mélodieux play of flute and a mysterious harmonica to sonorities
Southerners, it is a flood of uileann pipes and acoustic guitar. The
title, very given rhythm, Hispanic and Celtic sonorities mixture at a
speed of hell. A success! A supported percussion, a speedé bouzouki
and delicate vapors of harmonica, and it and very the country "Cabin
Servant boy", another piece extremely well removed, releasing the same
charm as famous "The Captain And Me" of DOOBIE BROTHERS! "Cranial
chromaticism/The twirly haired girl" with its palpitating cords and
its accordion ensorcellor still releases a beautiful vitality. The
music of BLACKWATER is done particularly blazing, in particular on
"Metalkid is back" (famous crescendo a
accordéon/guitare/percussion!), one of the most successful titles of
DEAD & BREAKFAST. A clever combination mixing Celtic refinement with
energy heavy! Strange group that BLACKWATER, whose immediate
attraction seems to lie in its fast tempos and its rhythmic
beachcombers! But one will also appreciate on DEAD & BREAKFAST of the
very melody instrumentals which stretch in any beauty ("Nitin", "Dead
and Breakfast") Canterbury style and of convincing pop rock'n'roll
songs ("Struggle"). One also notices the hot and rocky voice of JOSEPH
MACERA, rather near to that of Belgian singer ARNO. In short, this
group, like FLOOK but in a completely different way, seems to affirm a
very personal design of the Irish music. BLACKWATER, by powdering it
with various elements - country, pop rock'n'roll, rock'n'roll
Southerner - knew to make a living matter remarkably of it! (****).
NEEDFIRE
CAT IN A CANNON (the USA, 2006, Celtic Sun Records)
Group texan Celtic rock'n'roll, originating in Dallas,
NEEDFIRE signs with CAT IN A CANNON its 2nd opus. It is composed of
JOHN CLEGHORN (song, guitar, harmonica), ED WALEWSKI (low, bouzouki,
mandoline, tympanon), BRAD MADISON (bagpipes), all three ex-members of
group THE KILDARES. The formation also includes/understands DYLAN
CLEGHORN (song, fiddle) and MATT HENTHORN (battery). Already, a
beautiful energy characterized the 1st opus group, simply entitled
NEEDFIRE (2005). Although unequal, one could nevertheless hear 2
titles of scale there: "Gravel Walks", a flambloyante rock'n'roll song
in WISHBONE ASH with its vertiginous duels of guitar and its long
instrumental flights and "Hey Cammi", an anthem "glam rock'n'roll"
with the frightening rhythmic power, traversed delicate Celtic
shivers. With CAT IN A CANNON - which includes/understands 6 sung
titles instrumentals and 6 - NEEDFIRE offers a curious mixture to us:
on a side of the rock'n'roll songs short and fast lorgnant towards a
glam rock'n'roll or even the pop heavy metal, other side of charming
Celtic ballades, a little in the style of the CORRS. Side of the
vibrations celto-rock' rolliennes, the 1st title "When I get there"
attacks extremely effectively: a song "heavy pop" tonic, sharp shears
of guitars and circling parts of violin constitute the menu of it. A
large tube glam rock'n'roll seasoned with Celtic sauce... Very
fascinating! The musical structure of this piece like others of CAT IN
A CANNON - and the precedent opus - curiously points out that of the
BLACKHEARTS, the group of JOAN JETT, the egery glam. "It' S OK", the
following title, with rhythmic particularly impressive, still offers a
beautiful section of a heavy glam rock'n'roll, skilfully crossbred of
Celtic music. The boosted play of battery points out that of NEIL
PEART (RUSH) - an unquestionable influence. Continual grondements of
bagpipes flies over this at the same time powerful and melody piece.
This fusion celto- heavy continues with "" Fight Where I Stand "and"
Julia Delaney/Congress ", 2 titles of more stirring up. 1st is
characterized by a powerful duel guitare/bagpipes more convincing; the
second still offers beautiful sonorities celto-heavy with a duel
guitare/violon to the top! Definitely, the parts of fiddle marry
extremely well with the heavy music. And one can think, in particular
with the listening of "Julia Delaney/Congress", with the excellent use
of this instrument in a context heavy - for example DAVID
CROSS-COUNTRY RACE, in CLOSER THAN SKIN (2005). Lastly, a little
separately, "Jig for Alma" cases with its impetuous tempo, almost
jazzy. This title, bituminous mix of pretty Celtic harmonies, is
especially the occasion to hear superb crescendo
violon/basse/percussions. Side of the Celtic ballades, NEEDFIRE is
rather brilliant. The group mingles its own compositions with
traditional melodies "Tomorrow' S Sunrise" or "Dance With" are to Me
delicate ballades strewn - a little with the CORRS - air parts of
acoustic guitar and rustles enchanters with fiddle of Highlands.
Very inspired - and Celtic - "Her Bright Smile" still offers a
beautiful harmonic combination with the breath epic of the bagpipes
and the floating parts of acoustic guitar accompanying the a little
remote voice by the bard singer... "Sound of Sleat" is another
pleasant Celtic halt, the occasion to hear a pleasant duet guitar
acoustique/bagpipes with the dancing arabesques. As for short and
racé instrumental "Alma the Younger", it surprises with its
fairy-like parts of piano. It points out nostalgic "the Running
hardware" of REBIRTH. Instrumental "the When I Get There (Begun
again)", or rather its mysterious volutes of bagpipes, closes on the
Celtic mode this Cat In A Cannon. With final, a disc very hooker, at
the same time tonic and delicate. Obviously, NEEDFIRE is as at ease in
the rock'n'roll songs as in the ballades. With originality, it Marie
the glam and the heavy rock'n'roll with the Celtic harmonies. In a
certain way, a little like a BLACKWATER, its music a very great
musical curiosity expresses. Altogether, it is fresh and
semi-sparkling... like a cat in a gun! (****).
And still of Celtic...
PAULINE SCANLON HUSH (the USA, 2006, Compass Records)
The 2e opus of a singer of Irish origin, based in Nashville.
A stamp of voice which points out that of EMMYLOU HARRIS, egery of the
country rock'n'roll of the seventies; a soft and floating voice with
the intonations chatoyantes and a narrative style way TORI AMOS.
Surrounded experienced musicians (PENTANGLE, LUNASA, RICHARD THOMSON
BAND), PAULINE SCANLON slips her voice on sonorities folk and country
of most elaborate. Many titles are arrangements of traditional airs.
The majority of the ballades are superb like "Demon Lover",
characterized by a solid vocal duet accompanied by a endiablé banjo.
The very melody "Rain and Snow" is the occasion of remarkable
crescendo a voix/violon/banjo. HUSH by its very refined musical form
and its magic fusion of Celtic and Appalachian sonorities is
undoubtedly one of the discs more attaching of this Celtic vintage
2006! (****).
GAYANE
HE BRINGS YOU FLOWERS (France, 2006, Keltia Music)
The 1st opus of a singer compositrice originating in Alsace.
Of start, its voice, heat and air, hang. Gayane, which sings in French
and English, has a gold gosier. It shells ballades folk, a little
melancholic persons, coating them with delicate Celtic keys. Its
compositions are of quality "Can' You See" offers one crescendo
voix/guitare acoustic more subtle. Pleasant sonorities Hindi
traverse "Free Food". There is a Gayane style... However, the musical
part seems a little in background compared to the voice. Moreover, the
titles are of an unequal value. Nevertheless an album coherent and
stylé (**).
VARTINA
MIERO
(Finland, 2006, Real World Records)
A Finnish group worship, which leaves its 10th album. MIERO,
left on the label Peter Gabriel, has many attractions: fast and
accrocheuses melodies with the percussif play throbbing ("Riena
Anathema") and a superb ballade ("Volhe The Lie") where a voluptuous
acoustic duet accordéon/guitare slips on air vocal harmonies. A tonic
song in Finnish language, the lifting charm of the female vocal parts,
a folk rock'n'roll very open at the same time to the world music and
the traditional influences, such are the major assets of VARTINA.
MIERO is a good album. Nevertheless, one will reproach him certain
lengths in the titles ("Lukkoa") and certain passages too
expérimentals ("Lumotar"). And one will be able to prefer IKI (2003),
their preceding album (* * 1/2).
DRAGONFALL
CARREG
(the U.K., 2006, Sweet Starling Records)
This 3e CD of DRAGONFALL, groups Welsh origin, has a
characteristic: it is double with a face sung in English, another in
Gaelic. Of start, with the listening of CARREG one notices the rich
person voice of HELEN DAVIES (song), which writes the majority of the
titles and division the work of the compositions with its alter ego
ROB DAVIES (guitars). One thinks sometimes of the throbbing song of
SONJA KRISTINA of the mythical CURVED AIR... And perhaps "Sparkle Like
Diamonds" the 1st title of CD will recall to some "Young Mother" and
"Back Street Luv" of SECOND ALBUM. A very fascinating piece, which is
stretched, with its étincelants agreements of guitar and its ghostly
gleams of keyboards to the GENESIS... CARREG proposes many pop titles
rock'n'roll traversed of a very Celtic shiver. Pleasant and youthful,
they are in general in the style of the CORRS like "Mr. Wrong" and
"Back To Square One". The group surprises us with quite swaying
sonorities reggae ("It' S Gonna Be Alright") and some well troussées
ballades ("Dragonfall", "A Child' S Christmas"). "Mor Ariannaiad",
sung in Gaelic, with its duet very successful chant/guitare acoustic A
of the relents ledzeppeliniens; "Dragonfall" is the occasion to hear
delicate parts of guitar and keyboards. DRAGONFALL as in NATUR BYWYD -
its 1st CD - offers with CARREG a light music and pleasant, anchored
well in the Celtic compost (***).
KERRI LEE MAD DREAMS (Australia, 2006, Locrian Records)
1st CD of an Australian singer, originating in Victoria. She
wrote and composed all the titles of them. Inspired by the history and
the great Celtic myths, MAD DREAMS is an ambitious opus. One will
notice on a side the hot and serious of KERRI LEE, at the same time
exaltée and sinuous voice - a crossing between CHRISSIE HYNDE and
ANNIE HASLAM; other, Celtic sonorities full with imagination with a
key of bush Australian! As of the first title, the poetic universe of
KERRI LEE wraps us: its involving voice slips on "Llywelyn" where
fleet one crescendo guitare/bodhran/synthés of the most syncopated
"the Song Cricket", at the same time bucolic and of a superb
modernity, charms by its subtle play of flute and her daring parts of
guitars "Christ in A Waterfall" is another piece extremely well
removed at the same time air and exuberant, which characterizes the
whole of MAD DREAMS. The song of KERRI LEE, superb with energy, is
involved in wonder with the fugacious flights with Hammond organ and
the very tonic parts of acoustic guitar. Its voice chopped swingue on
the hopping tempo of "Inis Ealga", ironic song with the glory of the
Celtic festivals! The occasion to listen to remarkable crescendo a
flûte/violon/percussion. Definitely, the melody lines of MAD DREAMS
have many attractions "Folk Song" crescendo surprises with one
banjo/flûte/orgue Hammond of the more enchanters. As for "Raven
Dance" - the only instrumental one -, it borrows side of the medieval
music and sometimes points out the style of BLACKMORE' S NIGHT. In any
case, it offers a celto-medieval fusion the most succeeded of. One
will retain its crescendo seizing flûte/guitare/percussion and his
dazzling final with highland pipes. Like PAULINE SCANLON, KERRI LEE is
one of these personalities of the vintage 2006 to discover (****).
urgently