Sunday, January 15, 2017

La Forcelle - Lestrille (2014 France) @320

The Forcelle presents his second album. You will find roundels Landes and Lomagne, a Correnta and energetic congo, evidence of the Gascon anchor the group. But you will also hear the Galician colors, Swedish, all in the poetic universe of the duo that mixes tradition and creation.

A sensitive musical background, two musicians in symbiosis, great energy, some suspicions of humor, love and delicacy ... These are the ingredients that unite the duo, eager to share with the dancers, the music lover or simply loafer .
(google translate, sorry)

1. Suite de rondeaux
2. Mazurka do veilho / Mazurka à Camille
3. Scottish de Aby / Septentrionale
4. Cercle de Barbastro / Diaz / Des moines
5. Rondeau de Lestrille / Bourdillan
6. Loliña / Noche en Barbastro
7. Suite de Congos
8. Ivana / Mazurka de Montcuq
9. Suite de bourrées
10. Scottish dark
11. Courante de Joseph Roméo
12. L'amolaire / Les Valcerves
Lolita Delmonteil-Ayral (accordéons diatoniques, chant)
Camille Raibaud (violon)
Invité : 
Arnaud Bibonne (cornemuse des landes de Gascogne)

Friday, January 13, 2017

Chimera - Uitgevlogen (Holland 2010) @128

350 pressed limited - Very Rare!

Well, this is going to be a very interesting review as three legendary Dutch folk groups have a new album released. Something to look forward to seen the fact that Dutch folk is still a rarely recorded style. In the series about Dutch folk which I wrote for Folkworld, I interviewed all three the bands, so even for you the names might sounds familiar. First of all the band Folkcorn.[25] A band that was founded almost forty years ago and is one of the last survivors of the golden area of Dutch folk during the seventies. The group kept on releasing albums during the past years and always in a constant good quality. This new one is called Wie sal dan and contains eighteen traditional songs and dances from the period 1500-1850 from known sources such as Oude en nieuwe hollantse boerenlietjes en contredansen. The sound will sound familiar to all of you following the band and the Dutch traditional folk in general. Accordion, recorders, guitar and percussion are the main ingredients and the voices of all four of the musicians. Although they use the accordion and guitar, I think Folkcorn is one of the few groups that stay close to the original acoustic atmosphere of the songs and dances. A nice new album which will be enjoyed by the lovers of the more authentic traditional style.

The second album is by the trio Twee violen en een bas you can read an interview with violinist Jos Koning.[23] Like Folkcorn, Jos Koning has been part of the golden area of the Dutch folk and played in groups such as Crackerhash and Perelaar. With twee violen en een bas, Konings plays with Niki Jansen on violin and Willem Raadsveld on bass. This new album I personally consider as a highlight in the career of Koning and the best album by Twee violen en een bas, until today. They focused on music from the eighteenth century which tells about the Dutch royalties. The seventeen tracks show a trio that is passionate for their music and through the years has created an own, highly professional sound. I love the combination of the two violins and the way Raadsveld supports the gracefulness of the violins with his deep sound of the double bass. Their choice of asking Sytse Buwalda, with his high pitched voice, to sing on two tracks, gives an extra dimension to the album. This is the more romantic, almost classical approach of Dutch traditional music. Played by musicians who are capable of putting the music in a historical perspective and doing this in such a way that brings them at the top of Dutch (folk) music.

The third album is from the legendary group Chimera. They recorded two albums in the late seventies, early eighties, both considered as being a highlight in Dutch folk(rock). It is almost thirty years after their last album Obstakels and the past two years Bas Verkade, one of the founding members, kept telling me that together with his wife Marry Verkade, the other founding member, and their son Maryn Verkade they were planning a restart of the band. Occasionally a demo track was send by MP3 and suddenly this new album is there. Only 350 CD’s are made, so when interested you need to be fast. They can be ordered through the webpage of the band. The album contains nine new tracks, no remakes of old folk songs this time. Most of the lyrics are written by Marry and the music she wrote together with Bas. The trio is backed by Hans de Lange on drums and percussion. The first thing that you will notice is the recognizable voice of Marry, who sounds exactly like thirty years ago. Also the sound of the recorder with the strings played by Bas en Maryn, it all sounds very familiar and trusted. Somehow it really feels like a first new step, the recordings are not made in a professional studio and that can be heard occasionally and somehow I have the feeling that they feel a bit shy to really bring their music out in the open, which is understandable thirty years after the last output. But this album shows that Chimera has raised and is slowly finding a new balance and own sound. On this album you will find a few beautiful songs and tunes, still a bit unpolished, but very promising. Keep following this band as I’m full of confidence that they will surprise us in future, for now ... good that they are back! 
© Eelco Schilder

01 - Memory Song
02 - Uitgevlogen
03 - De Basiliek
04 - Romein
05 - Handen
06 - Dromer
07 - Afscheid
08 - De Slaapwandelaar
09 - Hart van Steen

Marry Verkade / vocals, flutes, recorders
Bas Verkade / guitar, bouzouki, vocals
Marijn Verkade / bass, bouzouki
Hans de Lange / drums, percussion 

Wednesday, January 11, 2017

Kapela Ze Wsi Warszawa (Warsaw Village Band) - Infinity (2009 Poland) @320

Here is the latest, already the fourth studio album by Warsaw Village Band, our next, long–awaited child;  and it was in fact the birth of a little human being that became the direct inspiration and cause for the creation of this album. In such situations, certain moments come when, lying beside the child, you observe its breathing, and you start to think about the countless, nameless generations that preceded us. You imagine those for whom we ourselves are going to be just an anonymous past without a face. After all, we are all born in a particular place and time, and shaped by culture of our ancestors. We live in big cities, seek our place on earth, lose old gods and find new ones, people, shelters, pictures, so that later we can hand them down to our children, who are born in a particular place and time, seek their place on earth, lose old gods and find new ones, people, shelters, pictures, so that later.. You begin feeling it clearly the moment you call others into being. No matter whether you live in Japan, the US, England, Germany or Poland – behind you stand the same generations, which like the rings of a tree, have accumulated their every trace in music, art, language – in a word – CULTURE. You emerge from it, enrich it and then pass it on. Ad infinitum. And here is how the idea of "Infinity" came into being – the need to take a dip in tradition, derive from it and create contemporary and modern compositions – to inspire other generations. 
Once again! 
 Wojtek Krzak

01. Wise Kid Song
02. 1,5 h
03. Over The Forest
04. Skip Funk
05. Is Anybody In There?
06. Heartbeat (Maja & Natu IncarNated chant)
07. Polska Fran Polska
08. Lazy Johnny Dance
09. Polka Story
10. I've Met The Girl
11. Little Baby Blues
12. Circle No. 1

Maja Kleszcz – vocals, cello 
Magdalena Sobczak–Kotnarowska – vocals, dulcimer 
Sylwia Swiatkowska – vocals, violin, suka, fiddle from Plock
Wojtek Krzak – violin, violin 7/8, nyckelharpa, drums 
Piotr Glinski – baraban drum, percussion 
Maciej Szajkowski - frame drums 

Saturday, January 7, 2017

Faburden - 337 (2016 France) @320

Faburden draws its identity from the soil of the Traditional Music of Gascony... adding various sound experiments.
The result is a music of solid, rooted and magmatic dance that changes constantly.
The traditional instruments (hurdy-gurdy, violin, bagpipes of the Landes de Gascogne, string tambourine) associated with the drums and a fantasy of musicians creating a timeless music, both very old and modern.
The codes of the dance music of Gascogne are respected and transcended. The compositions of this album merge with traditional melodies, but in an innovative, powerful and limitless atmosphere.
Matèu Baudoin : Chant, Tambourin à cordes
Arnaud Bibonne : Bohas, Bohassas
Julien Esteves : Batterie, Percussion
Simon Guillaumin : Vielle à roue ténor éléctroacoustique, Vielle à roue soprano
Camille Raibaud : Violon
1. Suite de rondeaux
2.  Scottish cagette - La chenille
3. Bourrée du Berry - Bourrée de sauvetage
4. Valse 337
5. Vlase des cinq étangs
6. Bourrée du bonhomme de neige - Bourrée de Carbon Blanc
7. Mazurka des champs - Mazurka de l'armoire
8. N'am Traversat nau lanas
9. La diligente - Le vent de lève
10. Nau Plumetas qu'a l'Auca
11. Tres son seroletas - Mazurka de lothbrok
12. Les bohas d'Uzeste - Congo du 49.3
13. 13. Suite de rondeaux des Landes

Tuesday, January 3, 2017

Triakel - Triakel [1998 Sweden] @320

With just four pumps of the harmonium, Garmarna vocalist Emma Härdelin, Hoven Droven fiddler Kjell-Erik Eriksson, and harmonium player Janne Strömstedt unleash "Old Sara," a taut, stark-naked dirge that serves as the leadoff track to their wondrous self-titled debut for Northside Records. Triakel tackle traditional Scandinavian folk music with a reverence that belies their youth, bringing to mind Shirley and Dolly Collins' arrangements of English folk songs in the '50s and '60s. Härdelin's round, throaty wonder of a voice wraps itself around each and every word like candle wax, preserving the melody beneath a blanket of lilting vowels and rolling Rs. Like all good traditional sets, this one focuses on the genre's most common themes: love, murder, sex, and madness. That this talented group can deliver these
pieces with such a remarkable blend of gentleness and fury -- using only three instruments -- is truly a feat. One needs only to listen to a few seconds of "In Paradise" or "Birthday Party" to be completely immersed. By the time the listener arrives at the icy closer, "Fair Young Love," the warm center of this trio's debut begins to glow brighter, and the vastness of Triakel's seemingly simple vision is revealed.

01 - Gammel Sara
02 - I himmelen
03 - I fjol gjett je gjeita
04 - Tusen tankar
05 - Mjölnarens måg
06 - Oväntad bröllopsgäst
07 - Om dagen står du städs för mig
08 - Födelsedagsfesten
09 - Alla gossar
10 - Lapp-Nils Polska
11 - Lejonbruden
12 - En vacker vän

Harmonium – Janne Strömstedt 
Violin – Kjell-Erik Eriksson 
Vocals – Emma Härdelin

La Bamboche - Née de la Lune (1980 France) @VBR256

Vinyl Rip

After 3 years of touring with the formation called "electric" La Bamboche records his second album. The group changed, Pierre "Tiboum" Guignon replaces Bernard "Beps" Chauchat. This recording mainly comprises the compositions of the members of the group. "La Bourrée infernale" remains the emblematic piece of La Bamboche at that time. Later, Michel Poncet (double bass) will replace Jacques Boisset and Michel Di Napoli will join the group. The hurdy-gurdy on the cover is that of Évelyne Girardon (luthier Jean-Luc Bleton).
Out of print.

01 - Bourrée Infernale
02 - Si J'avais Une Amie - Brume Noire
03 - Romarin
04 - La Gare De Moulins
05 - La Bourrée Du Diable
06 - La Route De Padoue
07 - Je Suis Née Sous La Lune
08 - Les Chavans
09 - Laissez Faire
10 - Scottish Des Réaux - La Boulangerie
11 - C'est À Vous Les Jeunes Filles
12 - En Passant Par Lyon

Jacques Boisset : basse, chant
Jean Blanchard : violons, cornemuses, épinette des Vosges, chant
Évelyne Girardon : vielles à roue, chant
Pierre Guignon : batterie, percussions, chant
Daniel Olivier : guitares, chant

Arasta Bazar - Le Grand Balzar (2012 France) @320

Arasta bazar exists of Julia Demaugé : violon, sanza
Antoine Bernaus : guitare, dombra, saz
Sabrina Calvo: percussions.
Their balfolk music has a lot of oriental influences (hence their name: the artisanal market in istanbul).
So besides the traditional folk ball dances, also expect a few turkish dances, all played by instruments you rarely hear.

1. Radio Balzar (kost'ar cardiaque pour le Saint Patrick) 3:10
2. Poisson Lampe (rondeau de minuit) 3:25
3. Les XV's (chappeloise surprise) 4:37
4. Le Retour du Haïdouk (bourrée à trois temps pour les amants de l'Yvette) 6:10
5. L'Antre de la folie (cercle, glissades et chamboule tout mental) 3:05
6. Yüzün Gördüm Dedim (gavotte de l'Aven à l'ottomane) 6:21
7. Aslan Sütü (scottish impaire et lait de lion) 4:59
8. Macadam scottish (scottish urbaine) 3:05
9. Adieu l'ami (M.Z.K et les blessures de l'amour) 5:44
10. Le Grand Balzar (bourrée à deux temps) 5:05
11. Le Plinn express (fin) 7:33

Monday, January 2, 2017

Trio Dhoore - Momentum (2016 Belgium) @320

1. Transatlantic groove
2. Eb & vloed
3. Endless dancing
4. Gepetto / Pinokkio
5. Momentum
6. Huiswaarts
7. Flandinavian
8. The Goderich tornado
9. Spelemei
10. The Wicklow way
11. Maasland jig / Wij 3
12. Wat voorafging...

Brigada Victor Jara - 1977 (Portugal) - Eito Fora @320

This 1995 edition on CD is very hard to find.
A very beautiful album.

The Brigada Víctor Jara (Portuguese for Víctor Jara Brigade) is a Portuguese folk band, with a career of more than 30 years and among the most influential bands of the Portuguese folk.
The band was formed in 1975, by a group of young people from Coimbra that was participating in one of the massive literacy campaigns carried out by the provisional governments that administered Portugal in the years after the Carnation Revolution of 1974.

01 Cantiga da Ceifa (Beira-Alta)
02 Coro das Ma‡adeiras (Minho)
03 Ao Romper da Bela Aurora (Alto Alentejo
04 O Senhor da Serra  Meu (Ribatejo)
05 Cantiga Do Bombo (Beira-Baixa)
06 Manolo Mio (Tras-Os-Montes)
07 Pezinho da Vila (Açores)
08 Senhora Do Almortao (Beira-Baixa)
09 O Anel Que Tu Me Deste (Douro Litoral)
10 Mariao (Tras-Os-Montes)
11 Baile Mandado (Algarve)

Saturday, December 31, 2016

Nathalie et Olivier Daviau - La terre est froide (Noëls – Chabrettes Limousines) (2013 France) @320

This Christmas album has quite an interesting story.
In 1985, Nathalie and Olivier recorded a tape of traditional christmas tunes, most of which were borrowed from Abbot Victor Porville's book "Lou chabrettaïre de nadalou et de nostra dama".
They made a recording in the chapel of Claude Girard village. Olivier played on bagpipes and Nathalie accompanied him on the organ and also played on chabrette. It was one of the first recordings, which in addition to chabrette attended grande chèvre.
Unfortunately the original recording no longer has been published because of technical problems.
In 2013, Nathalie and Olivier with their friends re-recorded the album, giving us the opportunity to hear the very same Christmas music.
The only thing that has changed, so it is the quality of recording - it is a little better.
1) La Sainte Compassion
2) La Passion de Jésus Christ
3) L’horloge de la Passion 
4) Noël de madame Besseyrot
5) Bergers écoutez la musique – Presta lo me
6) Nadalet (Revelhatz-vos pastouraus)
7) L’âme entendit
8) Chantez peuple de l’univers. D’où viens-tu bergère
9) La légende de la bergère 
10) Tous les anges dans nos campagnes 
11) Auvi Diù
12) Ribatz ribatz sount arribatz 
13) Un joune pastre soumeilhava (1)
14) Un joune pastre soumeilhava (2)
15) Nadalou
16) L’Annountiatiu 
17) Réveillez-vous les gens
18) Lo boun Diu, la Senta Vierza
19) La Passiu
20) Anem anem totas filhetas
21) N'i a guaire qu'ai auvit
22) Cantique de Sainte Marthe
23) La terra es fridza  

Musicians :
Nathalie Daviau (Organ, chabrette limousine en Sib, song),
Olivier Daviau (Grande chèvre en Fa, chabrettes limousines en Sol et en La, hurdy gurdy en Sol et en Fa, song)

Guests :
Julien Barbances (Violin),
Romain Ben Ali (Saxophone),
Michel Lecam (Song)
Philippe Randonneix (Song)
Pauline Randonneix (Song)

Thursday, December 29, 2016

Rémi Geffroy - Entre-deux (2012 France) @320

Thanks to Cino!

1. Entre-Deux
2. Suite De Planières
3. Elle
4. La Gifle
5. Un Jour En Normandie
6. Nouveau Départ
7. Diatopia
8. Le Détour
9. L'oeil Du Cyclone
10. Sous Les Roses
11. Innocence
12. L'estropié

Rémi Geffroy : accordéons diatoniques,
Maxime Absous : guitare,
Clément-Son Dang : violoncelle

Monday, December 26, 2016

Pekel - Dijkfolk (2006 Netherlands) @320

Pekel is a 4-piece ensemble that plays traditional music from The Netherlands, often arranged and adapted to modern
influences. On this disc are also several own-composed
melodies and songs in which their traditional roots are clearly recognizable. This is their 5th CD and it proves that Pekel is the leading traditional band of The Netherlands. Instruments include acccordion, keyboards, cistern, guitars, bagpipes, recorder, flutes, jew’s harp, percussion, violin, saz, viola.
1. Marguerite     5:01
2. De Stilte Voor De Storm     5:08
3. Franse Frits     3:08
4. Jan Soldaat     3:52
5. De Hongerige Matroos / Kermisgans     4:14
6. Vaarwel Bruidje Schoon     4:12
7. Madlot / Baonopstekker / Gort Met Stroop     4:00
8. Heimwee     5:34
9. Wieringen / Kielzog     4:23
10. Boerinneke Van Buiten     3:12
11. Vagevuur En Spijt     3:58
12. Swart Laat Je Scheren     7:21

Erno Korpershoe - Accordion, Keyboards, Vocals
Theo Schuurmans - Bagpipes, Vocals, Percussion, Jew's Harp, Flute, Tin Whistle
Peter Moree - Guitar, Zither, Bagpipes, Recorder, Vocals
John Bazuijnen - Vocals, Double Bass, Guitar
Hans Troost - Violin, Viola (tracks: 1, 2, 5, 7, 12) 

Claeys, Paris, Chabenat, Decombel - Live en Flandre (Belgium/France) @320

Contribution from an Anonymous FY's friend.
Thank you. This album deserves!

Here are four musicians who do not claim to form a group as evidenced by the lack of a name for this ensemble. The cover says he is simply the meeting between the two protagonists of the 1995 CD (already ...) "Water and almonds", Frédéric Paris and Gilles Chabenat, (I will not make you The insult to present you ...) and two Flemish musicians then quasi beginners at the time and who have made their way since, thanks to the influence of this recording of the past century ;-). Accordionist Wim Claeys is now well known, particularly for its role in of Ambrozijn and Tref . He also played for several years in duo with Marteen Decombel, certainly the least known of the four thieves here, guitarist and mandolin player who also rotates with the bagpipe Remi Decker and with Wim Claeys in Goze and works with Urban Trad , Ambrozijn , Naragonia Etc ...

If, as I said in the introduction, our four musicians do not pretend to form a real band and if this recording is more simply presented as the recording of a concert in 2005, it is quite different from listening : The listener can only feel the true symbiosis between the four instrumentalists and if the clarinet and, to a lesser extent, the hurdy-gurdy, are sometimes a little more on the front, there is really a group sound that does not incite Not at all to realize
an analytical listening musician by musician. It is much more enjoyable to be caught by this overall sound at the service of an expression present at each note. Moreover, the quality of the sound recording is almost that of the studio.

Hardly any new melodies here but of the picks of well chosen standards. The advantage of being called F. Paris or G. Chabenat is to be able to draw standards in his own repertoire. They do not deprive themselves of it and it is not I who will complain, especially since the way they revisit them justifies these new recordings. Mr. Decombel and Mr. Claeys also each brought a piece.

"In Flanders" certainly evokes for some of you a scottisch from F. Paris and, for others, one of the most beautiful songs of our traditional repertoire ("We will go to Flanders"). In order not to be jealous, the two succeed each other here, the second in a truly gripping version from beginning to end, with just the right thing to return to the theme from time to time. Also note a very nice resumption of the mazurka "L'anternaire" (here, it is written like that!) more minor than ever ...

Jean-Luc Matte
Infos mumuses

01 - Ou t'en vas-tu
02 - Van Belle nr 56
03 - Nous irons en Flandre
04 - En Flandre
05 - L'anternaire
06 - Marouska
07 - Baudimic - Adele - Bleu nuit - La mante
08 - 1-11
09 - Doedelyoudo
10 - Le fil - Montagnarde
11 - Les moissons
12 - L'impasse
13 - Bonus

Wim CLAEYS (Accordéon diatonique)
Frédéric PARIS (Cornemuse, Clarinette, Flûte)
Gilles CHABENAT (Vielle à Roue [Hurdy-gurdy])
Maarten DECOMBEL (Guitare, Mandole)

Saturday, December 24, 2016

Twalseree - Carambol (Belgium 2005) @320

A subtle blend of traditional and original compositions, TAWALSEREE already a part of the largest traditional Flemish renewal as we like to you to discover.
With TWALSEREE, music and dance must be understood as a source to which they feed to create, perform music of today.
Their repertoire combines research, practical and creative for the immediate pleasure of the dancer, the viewer, listener.

1. Paterke (Hooi en Strooi)
2. Almande Loreyne
3. Basilicum
4. Timmermans scottisch
5. Donkere tijden
6. Jig de Jeremy
7. Jokes scottisch
8. Voor de Vuyst / Marche Jeanne d'Arc
9. Koningsdans van Viersel / Kegelaar van Diest / Jig van Haendel
10. Kamazurka / Bizourka / Tarot
11. 't Oud Wuvege / Poka Smis
12. Rondoos
13. Winterwals / Stempelwals
14. Den Taxander
15. Nepeta

Jeremy Vervoort - zang, gitaar, schalmei, doedelzak, eenhandsfluit, draailier, blazeveer
Werner Alix - zang, klarinet, doedelzak, eenhandsfluit, draailier,schalmei
Ingrid Van Delden - zang, diatonische trekharmonica's
Fries Lefevere - zang, viool, vedel

Erwin Libbrecht - bouzouki
Herman De Wit - doedelzak en snarentrom
Koen Dewaele - basgitaar
Miguel Palomo - trommel en bombo

Thursday, December 15, 2016

Dédale - Le Maître Dhû (1991-France) @320

Excellent modern French Folk.

01. Post-A
02. Obsession part 1
03. La tripolitaine
04. Tsatsa Minnka
05. Hypnose / Reel
06. PV / The dwarf
07. Le carré / L'ovale
08. Ombre blanche / Scottish jazzy
09. Les galériens
10. La guinguette / Phyllis
11. Rosebud
12. Chlorophylle

Olivier Cohu: basse, guitare
Isabelle Pignol: vielle à roue
Norbert Pignol: accordéons diatoniques
Christophe Sacchettini: flûtes à bec, anches, épinettes, percussions, whistles
Jean-Pierre Sarzier: clarinette, clarinette basse, claviers

Monday, December 12, 2016

Groupe Sans-Gain - 1981 - Cire tes souliers (vinyl rip @320)

Not available on CD

The double CD "Cire tes souliers" available on the market is a compilation and not a version of this album

A1     An Dro "Tes Jolis Sabots"
A2     Scottich. Suite Traditionnelle
A3     Cercle Circassien. "Feux De La Saint-Jean" + Suite Groupe Sans-Gain
A4     Bourrée à 3 Temps. "Saint-Germain De Confolens"
A5     Branle Double. Suite De Branles Lorrains
A6     Gavotte. Suite Traditionnelle
B1     Polka. Suite Américaine - Alsacienne    
B2     Laride. "Mon Père Il M'a Mariée"
B3     Bourrée à 2 Temps. "Derrirère Chez Nous Il Y A Une Montagne"
B4     Two Step. "Le Petit Léon"
B5     Valse. "Les Moissonneurs"
B6     Reel-Jig. "Reel à Aline" + Suite de Jigs

The Groupe Sans-Gain is a group of Lorrain folk music.
The group was founded in 1964, at the very beginning of the revival of musical folklore in France and Europe.
His compositions are original, often inspired by traditional themes, and interpreted with a mix of ancient and modern instruments.
The name of the "Groupe Sans-Gain" comes from its non-profit association structure, the members being all volunteers and the gains to pay the operating costs.
Groupe Sans-Gain celebrated its 50th anniversary on Friday, May 9, 2014 at the Olympia.

Saturday, December 10, 2016

Etienne Grandjean - Accordéon Diatonique (1987 FRA) [320]

    Saxophone – Jean-Louis Le Vallegant
    Violin, Guitar – Jacky Molard

A1     Mazurka Du Vignoble    
A2     Quand Il Mouille - La Méchante Femme    
A3     Le Georges Lieu    
A4     Entre Scrignac Et Lanneanou    
A5     Marines    
A6     Le Bal ballant Ou "Isolement D'Un Baleu"    
B1     Nova    
B2     Rondes Du Pays De Loudeac    
B3     La Bateliere    
B4     Dans Plinn    
B5     Matines    
B6     Scottishe De Penhoët

Etienne Grandjean & La Belle Société ‎– Étienne Grandjean & La Belle Société (1995 FRA) [320]

Author, composer and performer, Etienne Grandjean is a virtuoso of the diatonic accordion. The musician subtly explored the world of circus and fairground festivals. At the option of a rich sound palette here means a slow waltz, there inflamed java, some jazzy gypsy or skids. Melancholy alongside humor and, over the pieces, plays instruments that take the audience on a festive round which, like the Ferris wheel, will make you dizzy. In this musical carousel, La Belle Societe leads the way. But Who forms this Beautiful Company? Well, alongside Etienne Grandjean, saxophonist Vincent Burlot and bassist-guitarist Job Defernez become magicians who open the doors of our enchanted dreams. So take a seat. Ladies and gentlemen, the show begins!

    Accordion [Accordéon Diatonique], Guitar, Vocals – Etienne Grandjean
    Strings [Cordes], Bass, Guitar – Job Defernez
    Tuba, Saxophone, Calliope, Voice [Voix D'Opéré] – Vincent Burlot
    Viola – Bernard Kerboeuf
    Drums – Dominique Le Bozec

1     Manouche     2:06
2     Eléna Mosquito Del Sol     1:26
3     La Chanson De La Misére     3:22
4     La Parade Des Celtes     2:46
5     La Java Mystère     2:35
6     Accordéon Et Boniment     3:35
7     La Callas Des Trottoirs     3:18
8     Le Bal Des Mendiants     2:41
9     La Complainte Des Mystères De Paris     3:13
10     Les Mendigots     3:54
11     Le Pavillon Des Illusions     2:40
12     Song For My Dog     2:52
13     Les Mystères De Paname     2:35
14     Mam'zelle Fabienne     2:21

Friday, December 9, 2016

Susan McKeown - Prophecy (2002 USA) [256m4a]

There's something really archetypal about this superb Irish singer, a NYC resident for over a decade now. The motto of her company Sheila-Na-Gig Music says a lot: New Music from the Old World.

Not the old country, as it used to be called. Susan McKeown's vision and inspired take on Irish music has been uniquely global.

It's not a record cheapened by marketing genres. The intermingling of folk, rock, jazz, world music, and sounds that bear no bin-worthy name rise and fall, swelling to tsunamic crescendos and falling to pin drop silences of spooky guitar loops, Michelle Kinney's haunting cello, and the depths of sorrow and glory that Susan McKeown is so uncannily capable of creating.

Prophecy is a record of many brilliant moods, all songs written or co-written by the artist. Co-producer and fine guitarist Jon Spurney co-wrote the music to the title track -- its lyrics are inspired by a W.B. Yeats passage included in the liner notes. The poetry of Emily Dickinson is also featured: Susan and her friend Natalie Merchant do a memorable duet on "Because I Could Not Stop For Death," set to music by the artist.

1.    Be Brave Love Be Strong    3:55
2.    River    3:44
3.    Chances Are    4:48
4.    Wheels of the World    3:33
5.    Seven Cold Glories    3:11
6.    What Did I Ever Do To You?    2:29
7.    Because I could not stop for Death    3:50
8.    Ballinaboula    4:15
9.    South    5:31
10.    Prophecy    2:39

Tuesday, November 29, 2016

Alan Stivell - Olympia Concert (France 1972) @320

By Request

À l'Olympia (Also called At the Olympia and Olympia Concert) was Stivell's first
live album, recording in Paris Olympia. It was released by Fontana in 1972.

This live concert was divided into two parts: the first acoustic folk, the second part being electric folk in a style then known as Celtic rock. The evening is a musical tour around the Celtic fringe, from Brittany northwards. It was broadcast live on one of the three radio stations in France (seven million listeners live on Radio Europe 1) Alan Stivell was accompanied by Dan Ar Braz on guitar, Michel Santangelli (the future drummer for Jacques Higelin) on percussion, Gabriel Yacoub, René Werneer, Pascal Stive, Gérard Levasseur, Serj Parayre and Michaël Klec’h.

Stivell à l'Olympia sold a staggering 1,500,000 copies in just over a year (more than 2 million thereafter) and put both Stivell and Breton music on the cultural map once and for all.

01. The Wind of Keltia   3:42
02. An-dro   3:07
03. The trees they grow high   3:04
04. An Alarc'h (The swan) 2:25
05. An Durzhunnel   3:23
06. Telenn Gwad / The Foggy Dew   3:57
07. Pop Plinn   3:37
08. Tha mi sgith   4:22
09. The King of the Fairies   3:20
10. Tri Martolod   4:27
11. Kost ar c'hoad   3:54
12. Suite Sudarmoricaine   3:29

Alan Stivell: Singing, harp, Irish flute, bombard
Dan Ar Braz: Electric Guitar
Michel Santangeli: Drums
René Werneer: Fiddle
Gabriel Yacoub: Guitar, Dulcimer, Banjo
Gérard Levasseur: Bass
Henry Delagarde: Bombarde, Cello, Flute
Mikael Klec'h: Bombarde, Flute
Pascal Stive: Organ
Serj Parayre: Percussion

Monday, November 28, 2016

Folkabbestia - Il Senso della Vita [The Meaning of Life] (2003 Italy) @ 256M4A

FOLKABBESTIA are six young guys from Italy who play an
energetic and fun-laden mixture of Ska, Polka, Tarantella,
Irish Folk, Slavic melodies and Italian Canzones. With "Il
Senso della Vita", their international debut CD, FOLKA-
BBESTIA spread their distinctive and sometimes anarchic
humour across Europe - and finally, the meaning of life -
Il Senso della Vita is solved.

In a laconic and ironic way, FOLKABBESTIA tell their tales
of tragic love stories or other adventures with an unhappy

FOLKABBESTA play sentimental sailors' songs, Italian
anthems like "Azzurro", songs about love and loss, pirates
and partisans, presented with an optimistic punk attitude.

The members of the band come from the city of Puglia, one
of the southernomst regions of Italy, opposite the coast
of Albania. Far from the frenetic hurry, and law and or-
der of the industrial cities of the north, the tip of the heel
of Italy plunges deep into the Mediterranian Sea.
So it is easy to understand how the musical traditions
of the southern Italian region, as well as neighbouring
cultures, have influenced FOLKABBESTA's compositions.

With modern as well as traditional instruments (violin,
accordion, mandolin), FOLKABBESTA deliver a great
live performance, transferring their own sense of fun onto
the audience - jigging and whirling around until completely

Lorenzo Mannsarini (Gesang, Gitarre)
Michele Sansone (Akkordeon)
Guiseppe Porsia (Flöte, Gitarre)
Francesco Fiore (Bass)
Nicola de Liso (Perkussion)
Fabio Losito (Violine)

3. AZZURRO 2:52
5. LA FUGA IN FA 3:43
17. PIRATERIA 3:35
18. CANZONE D'AMORE repetiscion 3:35

Hanggai - Introducing Hanggai (2008 China) @256m4a

Sometimes, an album takes you so by surprise that it takes days to get your mind around just how much you like it. Hanggai's debut was like that for me-- this record floored me the first time I played it. Simply described, this album takes traditional Mongolian folk music and instrumentation and projects them into a loosely rock-based structure. This is not really a folk album, though it sometimes has the feel of one. Producers Robin Haller and Matteo Scumaci, Westerners both, allow the band to straddle the folk and pop worlds, creating something new and exhilarating in the process.

Hanggai are a Beijing-based sextet of Mongolian musicians, a few of whom originally hail from China's Inner Mongolia province. Two of the members play the morin khuur (horse-hair fiddle), while another plays the tobshuur, a two-stringed lute, and these instruments comprise the foundation of their sound. Tobshuur player and bandleader Ilchi was formerly in a Beijing punk group and put this band together after hearing the traditional khoomei throat-singing technique. Enthralled by the sound of this centuries-old singing style, he went to Inner Mongolia to learn it, where he ultimately met fiddle players Hugejiltu and Bagen. The combination of the group members' raspy, deep throat singing with a Western compositional sense of tension, build-up, and release is hard to describe apart from saying that it works very well.

It is rare that such attempts to modernize (read: Westernize) traditional folk forms actually enhance the power of the music, but that is the case here. Haller and Scumaci's very subtle additions of electric guitar, bass, and electronic textural elements nicely complement the traditional instrumentation-- the fiddles can produce long drones or billowing melodic figures, and the tobshuur is often used to give the songs a heart-racing rhythmic underpinning, with the help of some hand percussion.

The album's stunning centerpiece, "Five Heroes", opens with a long passage of throat-singing, with one member producing a steady, low drone while another manipulates the high, whistling overtones produced by it. The minimal guitar part has elements of surf, and is later used to inject a long, descending phrase between the verses. It's stunningly dramatic, and on hearing it my wife remarked that, even though they were singing in Mongol, she could feel the storytelling taking place in the lyrics. I have to agree.

The album is well-balanced between up-tempo and down-tempo offerings, and fast, rhythmic tracks like "Flowers". The natural ease with which these young musicians fit their mother culture's traditional musical arsenal into structures provided by another culture is remarkable-- unlike that horrible Yat-Kha album with the awkward throat-singing covers of Joy Division and Motörhead from a few years ago, there is never a sense of novelty in this music, just the sense that these unique, singular traditions can have a place in music moving forward.

And that's perhaps the biggest reason that Hanggai's debut is an unmitigated success. It distills everything powerful about Mongolian folk music and makes something new from the ingredients. If you like this, I recommend trying out some actual traditional Mongolian music, though an understanding of it isn't remotely necessary to enjoy Hanggai. As it is, if you've never heard throat-singing or given a second (or even first) thought to Central Asian music, this album is a great place to start. Moreover, it succeeds on a purer level than that, as transcendently powerful music that anyone from anywhere can understand.

1.    My Banjo and I    5:10
2.    Yekul Song    3:46
3.    Zhaoderen Nana    3:56
4.    Five Heroes    2:37
5.    Flowers    5:33
6.    Haar Hu    3:26
7.    Wuji    2:01
8.    Lullaby (Borulai)    2:57
9.    Drinking Song    4:02
10.    Four Seasons    3:01

Sunday, November 27, 2016

Alan Stivell - Live in Dublin (France 1978) @320

By Request

In Dublin is a folk/rock album by Alan Stivell, recorded live at the National Stadium, Dublin, on 26 and 27 November 1974, and originally released in 1975.

The album was produced by Alan Stivell and Peter Rice for Keltia III. It was recorded by Frank Owen on the Island Mobile, and mixed by Howard Kilgour at Island Studios. The original LP release (in the UK, Fontana 9299 547) was cut at Apple Studios, with sleeve photography by Roy Esmonde and Ian Gwenic and design by Alain Batifoulier and Blandine Durand. Packaged with the original LP was a poster drawn by Irish artist Jim Fitzpatrick.

01 - Spered Hollvedel
02 - Delivrance
03 - Ha Konpren't Vin Erfin
04 - Tenwal Eo'r Bed
05 - Digor Eo An Hent
06 - Debhair An Rinceoir
07 - Pachpi Kozh Pachpi New
08 - Laridenn
09 - Ton-Bale Pourled
10 - Bal Ha Dans Plinn
11 - An Droiou

Alan Stivell: Vocals, Harp [Celtic], Bombarde, Flute [Irish], Bagpipes
Padrig Mollard: Bagpipes
Pierre Mayel: Bagpipes
Jacky Thomas: Bass 
Mik Ar Biz & Padrig Sicard: Bombarde
Michel Santangeli: Drums
Dominique Mollard: Drums [Scottish]
Rene Werner: Fiddle, Dulcimer
Alan Kloater: Flute, Bombarde, Other [Biniou Kozh] 
Dan Ar Bras: Guitar [Acoustic & Electric]
Pascal Stive: Organ

Saturday, November 26, 2016

Alan Stivell - 'Raok Dilestra - Avant D'Accoster [FRENCH VERSION] (France 1977) @320

Vinyl Rip - Not released on CD
(Thank you Thierry!)

'Raok Dilestra is the ninth original album by Alan Stivell and his seventh studio album, released in 1977. It was published on CD in 1992 with a distribution by Dreyfus / Sony Records Music. It is an album-concept, entirely composed by Alan Stivell, retracing the stages of the history of Brittany at first, then the events that the Britons experienced in the twentieth century, finishing, turned towards the future, By a "free Britain" chanted in three languages. A step he considers necessary in his transmission cycle before turning to the future.

Face A - Tu A : Hon Amser-Dremenet (Notre Passé) ( En Enor- Dédié à - Glenmor) 
1 - Ar Gelted Kozh (Les Anciens Celtes) (4:20)
2 - Ar Vritoned 'Ba' Inis-Breizh (Les Britons Dans L'Ile De Bretagne) (1:59)
3 - Les Britons En Armorique (Ar Vritoned D'An Arvorig) (1:25)
4 - Rouantelezh Vreizh (Le Royaume De Bretagne)  (3:22)
5 - Dugelezh Vreizh (Le Duché De Bretagne) (3:04)
6 - Le Traité D'Union Franco-Breton (An Aloubidigezh Gant Bro-C'Hall) (1:03)
7 - Emsawadegoù (Révoltes) (2:11)
8 - La Révolution Française Et Le 19e Siècle (Dispac'H Bro-C'Hall Ag An 19e Kantwed)  (2:25)
9 - Première Moitié Du 20e Siècle (Lodenn Gentan An Ugentwed Kantwed) (2:36)
10 - Eil Lodenn An Ugentwed Kantwed (Deuxième Moitié Du 20e Siècle) (2:36)

Face B - Tu B : Hon Amser-Vreman (Notre Présent)
11 - Da Ewan (A Ewan)  (4:12)
12 - Gwriziad Difennet (Racines Interdites) (3:19)
13 - Marw Ewid E Fobl (Mort Pour Son Peuple) (4:11)
14 - Naw Breton 'Ba' Prizon (Neuf Breton En Prison) (5:03)
15 - Tamm-Kreiz New' (Nouveau Tamm-Kreiz) (1:34)
16 - Plinn (Slogan) (3:11)

Alan Stivell : chant, lecture, harpes celtiques, cornemuse écossaise, bombarde, flûte irlandais, claviers
Dan Ar Braz : guitares électriques et acoustiques, chœurs
Padrig Kerre : mandole, dulcimer, fiddle, chant
André Hervé : claviers
Michel Hervé : basse
Jean-Luc Danna : percussions, batterie
Yann-Jakez Hassold : chant
Maria Popkiewicz : chant
Brigitte Hassold : lecture
Adam Skeaping : violoncelle
Lyn Dobson : flûte traversière, sitar, tablas, psalterion
Richard Harvey : cromorne, flûte à bec
Bagad Bleimor (avec les penn-soner Yann-Fañch ar Merdy et Youenn Sicard)

Naw Breton 'ba' prizon et Gwriziad difennet (pistes 12 & 14) :
Clément Bailly : batterie
Dominique Luro : claviers
Patrick Kiffer : basse
Dave Swarbrick : fiddle
Alain Hatot : saxophone ténor (piste 12)

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