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warmth is not an easy quality to conjure from accompanying album and DVD was recorded and conveys a song’s stoic suffering like no
either the pipes or the harp. The richness and on site and provides some thrilling moments. other singer. Instrumentation is sparse (appro-
brightness of the combined sound of harp Keane has cleverly played to his strengths – priately) and the mood sombre. For album
and pipes can be heard in the 17th century showing his unpretentious stage presenta- closer, Ljiljana sings jazz standard Gloomy Sun-
Lancashire Hornpipes and especially on Full tion and musical and vocal ability, as day – sleeve notes point out that this song was
Moon Down Under, a heartbreaking tune by opposed to dictating an academic history les- written by Hungarians and Buttler takes the
the late Gordon Duncan, which cellist Chris- son. Keane shows himself a master storyteller tune back to its mournful Central European
tine Hanson accompanies to thrilling effect. and excellent unobtrusive musician. His years roots, little jazz inflections surrounding her
There are also six traditional songs on the
as sideman to sister Dolores and spells with huge voice. In an ideal world Ljiljana Buttler
album, with Wendy and Gary sharing vocal
Shegui and Shaskeen have focused his musi- would enjoy similar sales success to Cesaria
duties. The two Burns songs Ae Fond Kiss and
cal bent to a band setting, where his flute Evora; this is lovely stuff, very blue and soulful.
The Slave’s Lament are both sung by Wendy
and whistle colour the ensemble sound
www.snailrecords.nl, distributed in the
and given interesting treatments. The tune
instead of dominating it. Keane is on good
UK by Proper Note.
now commonly associated with Ae Fond Kiss
vocal form here – emphatically understated
A Hawk And A Hacksaw are the US duo
(used here as an instrumental) is that of I Ho Ro
throughout whether on a sean nos ballad
of Jeremy Barnes and Heather Trost. Initially a
Sna Hug O Ro Eile, and Wendy sings a different
like Dear Little Isle, reviving a ballad
vehicle for Barnes’s musique concrète con-
melody associated with these same Gaelic
warhorse like Fare Thee Well Enniskillen or
cepts, he reshaped his direction on 2006
words. Aware that Burns himself almost emi-
crafting new material like Ciaran Wade’s One
grated to the West Indies, Wendy follows The
Way Ticket into a glove-like comfort. Musi-
album The Way The Wind Blows, creating
Slave’s Lament with a Habanera Gris on harp,
cally, Mairtin O’Connor, Rick Epping, Sean
what could be called ‘indie folk’ as his
composed in a 19th century Cuban dance style.
Regan, Tommy Keane and Seamie O Dowd
accordeon and Trost’s violin sought out east-
Wendy’s solo spot on the album is a fine
kick out the jams convincingly.
ern flavours. Fanfare Ciocarlia’s horns guest-
ed on several Wind Blows tracks so lending
set of Renaissance parts from the Straloch lute
The CD has 15 tracks while the DVD has a
an added ambience to the music. Wanting to
manuscript and from the blind 17th century
massive 28 tracks with spoken word inserts
take this further, the duo relocated to
harper Rory Dall; and Gary performs an 18th
from Mairtin Jaimise O Flaithearta, dance
Budapest and formed a touring and record-
century piobaireachd with plangent harp
sequences telling the story, devoid of senti-
ing band with several Hungarian musicians.
chords in the background. This is Gary and
mental overkill – this is more fireside than
Their 2007 UK tour found them struggling to
Wendy’s way of letting you know that there
Hollywood in presentation but hits the mark
stay afloat – the Hungarians were technically
may well be links between piobaireachd and
emotionally without resorting to clichéd the-
superior musicians and the Americans
the ancient bardic harp tradition.
atrics. The Irish Scattering is a masterclass in
appeared to be able to do little other than
With a sound palette of harp, pipes,
using song and music to tell stories.
jam along – and an EP released to coincide
cello, guitar, whistle and concertina, both the
www.seankeane.com; via Proper with the tour only confirmed this. A little like
arrangements and the performances on this
John O’Regan
Fleetwood Mac’s venture into Chess Studios
album display a deep and finely-nuanced
with Willie Dixon and co’ then.
attunement to traditional music borne of a The good news is that A Hawk And A
lifetime’s experience. This is Scottish music at
LJILJANA BUTTLER
Hacksaw have realised the limitations to that
its wistful, elegant best – performed with real approach and the ten tunes here – this is a
gravitas and emotional power. Frozen Roses Snail Records SR66011 refreshingly short album – show the duo
www.wendystewart.co.uk
making more subtle music, blending their
www.garywest.co.uk
A HAWK & A HACKSAW instruments with the Hungarians’ so creating
Paul Matheson
Délivrance The Leaf Label BAY 64CD
a series of atmospheric sketches. Trost espe-
cially has developed into a remarkable violin-
Back in the Balkans or thereabouts with a ven- ist, pulling all kinds of Balkan tricks to get dis-
erable veteran and a couple of young pups. sonant sounds. The album is largely instru-
SARAH SAVOY & Ljiljana Buttler – (previously Petrovic) – was a mental – a good thing considering Barnes’
THE FRANCADIANS
celebrated Gypsy singer in the late 1960s and occasional flat vocal – and demonstrates a
1970s across Yugoslavia before fleeing to Ger- genuine feel and immersion in acoustic Hun-
Off To The Honky-Tonk own label no
many once the civil war broke out. There she garian music-making. Considering artists like
catalogue number
worked as a cleaner and never sang until Gogol Bordello, Shantel, Balkan Beat Box and
Another scion of Cajun music’s First Family
Bosnian producer Dragi Sestic sought her out others trying to ride the wave of interest in
sashays into the studio, hard on the heels of
and managed to convince the grand dame of eastern/ Gypsy music, A Hawk And A Hacksaw
brother Wilson’s success with the Pine Leaf
Balkan song that she should consider record- are to be commended for emphasising
Boys. Sarah has left the bayous for Paris,
ing again. After two very well received solo artistry rather than spectacle.
assembled a more than competent acoustic
albums – as well as guest work with Mostar
www.ahawkandahacksaw.co.uk
band of French musos, and gives us a take on
Sevdah Reunion and Fanfare Ciocarlia’s
Cajun, country and blues that’s distinctly her
Queens & Kings project – Ljiljana returns on
Garth Cartwright
own. Distancing herself from mother Ann’s
Frozen Roses backed by a small band. She still
dulcet tones, Sarah piles on the raunch in 12-
has the deepest female voice I’ve ever heard
VARIOUS ARTISTS
bars like Matchbox and Mind Your Own Busi-
ness, sometimes overreaching in her efforts to
Ljiljana Buttler
The Leitrim Equation Leitrim County
sound down and dirty. Her more vulnerable
Council no catalogue number
vocal on Belton Richard’s Je Veux Plus Te Voir,
however, is a treat. We also get a couple of
The Irish quintet Lúnasa were Leitrim’s Musi-
Hank Williams covers and some new composi-
cians In Residence for 18 months spanning
tions, the Pinegrove Blues-inspired Buvons Un
2007 and 2008, an innovative and multi-
Coup allowing the band to get stomping, and
faceted scheme (co-funded by The Arts Coun-
the plaintive waltz Chanson Pour Ma Famille,
cil of Ireland) which sought to promote tradi-
gilded with some very nice fiddle by Vincent
tional music within the county and increase
Blin, possibly the best thing on a lively debut.
awareness of its nature and strengths.
myspace.com/sarahsavoythefrancadians
This double album (only a smidgeon of
the recordings that were made and are cur-
Brian Peters rently being archived) bears ample witness to
the enduring strength of Leitrim’s musical
heritage, whether it be the songs of Eleanor
SEAN KEANE Shanley and Mary McPartlan, the flute music
inspired by amanuenses such as John McKen-
The Irish Scattering Circin Rua Teo
na, John Blessing or Packie Duignan, or the
CR007CD & CR007DVD
less well-known uilleann piping heritage.
Sean Keane’s eclectic song choice and distinc- The CDs’ 21 tracks, many of which fea-
tive vocal style has seen him create an enthu- ture members of Lúnasa in supporting roles,
siastic following and considerable reputation are notable not only for the range of music
as an interpreter of traditional and contem- involved – from effervescent jigs and reels to
porary folk and roots music. His most recent a sonorous rendition of his own hornpipe
venture is his biggest-scale project to date: a Master Shanley’s by Maurice Lennon – but
show centred on Irish emigration to America also for the breadth of experience repre-
and Canada told through music and spoken sented. This ranges from the teenaged fid-
word that received its unveiling in Galway’s dler Shane Meehan (a real find!), via figures
Town Hall Theatre in March 2008. The Photo: Jak Kilby well-known in Connacht musical circles such
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