69 f


poised, singably simple and therefore memo- rable melodies – some for dancing, some more slow and lyrical for listening, contem- plating and remembering – at least as sweetly and well-recorded as any Purppuripelimannit has done before it.


Most are titled for local places or people. Six are by Konsta, including his well-known slow Vaiennut Viulu (The Silent Fiddle) and the beautiful Kruunu-Marjaanan Polska (an iconic Kaustinen tune that in a way foreshad- owed JPP’s transformations). Eight are tradi- tional, including the sad, surging, slow-step- ping Peltoniemen Hintrikin Surumarssi (Hin- trikki Peltoniemi’s Funeral March), a well- known old tune which is in the repertoires of Frigg and fiddle bands and orchestras abroad as well as in Finland. And, fitting well and showing that even a group as long-established as this is still creating in the living tradition, four are by band member Asko Hanhikoski.


kauppa.kansanmusiikki-instituutti.fi Andrew Cronshaw


HANNAH SHIRA NAIMAN


Know The Mountain Merriweather Records MH161


This Toronto-based singer-songwriter and banjo and fiddle player grew up around folk music as the offspring of the celebrated Canadian old-time banjo maestro Arnie Naiman (whose My Lucky Stars is reviewed in fR 398/399) and children’s musician Kathy Reid-Naiman.


Original songs including the title track and the yodel-inflected Valley Waltz, have the kind of timeless melodies that, like tradi- tional songs, gently ease themselves into the listener’s consciousness – don’t be surprised if you find yourself singing her lines as you go about your daily business. They’re the kind of songs that sit comfortably alongside tradi- tional repertoire, represented here by memo- rable interpretations of Come All You Lone- some Ramblers and Train On The Island.


The influence of her mother is evident in


the charming Ant And Bee, Rubikke and Fishies, while darker Appalachia is evoked in The Blue House (a jaunty and catchy-as-all- hell murder ballad concerning a fiddle-play- ing psychopath). Callum features Silly Sisters harmonies over simple and atmospheric cello accompaniment and Devil On The Ferris Wheel and Anastasia’s Tune are fine, authentic- sounding fiddle tunes composed during a research and study trip near the mountains of Virginia and West Virginia.


Produced with assistance from Ontario Arts Council and Canada Council for the Arts, this is a wonderfully engaging and uplifting record.


hannahshiranaiman.com Steve Hunt LASARFHIONA


One Penny Portion Lasarfhiona Ni Chonaola LNC003CD


One Penny Portion is the long overdue third album from noted Aran Islands-born Lasarfhiona Ni Chonaola. Begun in 2012, its completion was partly delayed through a diagnosis of breast cancer while five months pregnant in April of that year.


Having created a considerable stir with her debut album An Raicin Alainn in 2002 and followed up equally well on 2005’s Flame Of Wine as an interpreter of Gaelic song with a smoky, deep yet fragile range that mixes chanteuse equally with sean nós experience, she created a delightfully fresh and original take on the Irish song canon. Her career looked impressive but was derailed through


her diagnosis and subsequent cancer battle. Thankfully now in remission and the mother of a healthy daughter, her resilience in over- coming the odds has resulted in a powerful return to form on One Penny Portion.


Produced by Maire Breatnach and Lasarfhiona the arrangements are sparsely secure and breathe with a scope and space that perfectly illustrate the songs and suit the restrained vocal approach. Her throaty lower register vocals add a welcome wistfulness to the local and English songs which include a new turn on the once hackneyed An Chuil- fhionn (The Coolin) which gently restores its former strength and beauty. There’s a healthy dash of Gaelic songs including epics like Caislean UI Neill (O’Neill’s Castle) and another oft-recorded song Eamonn An Chnoic (Ned Of The Hill) which again she subtly realigns. English songs also figure with the title track and She Didn’t Dance upping the tempo momentarily while again the lyrical ballads such as Reilly The Fisherman and the seldom covered Ghra Geal Mo Chroi (Bright Love Of My Heart) provide immediately compelling performances.


The album also displays a promising han- dle on contemporary songwriting. The gentle reminiscences of Before The Dawn and the jazzy strains of I Think Of Love both occupy the Tracey Thorn/Suzanne Vega style of chimerical balladry that suits her sultry vibra- to. Combining her lyrical prowess with suit- ably poised arrangements and solid quality material, One Penny Portion is a vibrant and subtle return of a major song stylist.


www.aransinger.com John O’Regan


MOLTENAMBA Slide To The Side Moltenamba AMB 180


The very musicianly members of this quintet bring with them a long and varied experience ranging through a good number of genres. Two of them, Chris Walshaw and Anna Tab- bush bring a lifetime’s involvement in folk music; Chris blows things – pipes, saxophones and whistles – whilst Anna is the singer and fiddler. The other three have played with groups as diverse as Principal Edwards Magic Theatre, the Climax Blues Band and The Ukulele Orchestra Of Great Britain. As it hap- pens, listing the variety of their backgrounds is useful in trying to describe the ingredients of this musical soup. This is really tight, well- rehearsed playing throughout; perhaps there ought to be special mention for the excellent sympathetic percussion playing of Geoff Nicholls who seems to facilitate the band’s frequent changes of mood and pace.


Most of their live work comes from the Euro-dance scene in Britain, usually working with that inspired dance caller, Kerry Fletcher. Several members have previously played together in other dance bands such as Angles and Meridian.


All the compositions are written by members of the band – though one tune seems to be by a guest bass player.


A dance band will always broaden the appeal of its albums if it includes some songs and, frankly, it would be silly to have a singer as good as Anna in the band and not use her talents. Her voice is heard on four of the eleven tracks, singing dance-related lyrics to songs that she has at least had a hand in writ- ing. By some distance, the best of these is her tale of a wartime dance-floor encounter in The Very Last Dance.


There ought to be a mention for an attractive digipak with a section of Toulouse- Lautrec’s At The Moulin-Rouge making an arresting cover.


moltenamba.com Vic Smith


Hannah Shira Naiman


RYLAND TEIFI Man Rhydd Gwymon GwymonCD021


Welsh singer-songwriter Ryland Teifi says that music has always been in his blood. His father was a folk singer who ran a folk club in Wales, and Ryland grew up in a home filled with music: from local Welsh musicians to records by Nat King Cole and Johnny Cash. Ryland married a musician, Roisin Clancy (daughter of Bobby Clancy of the Clancy brothers) and they now live in West Water- ford in Ireland. All those experiences have left their trace on Ryland’s music, where you can hear the influence of Wales, Johnny Cash, Nat King Cole and Ireland.


Ryland’s fourth solo album Man Rhydd is a collection of highly-polished, soulful acous- tic pop songs with folk and country flavours, all composed and sung by Ryland in both English and Welsh. For all that the predomi- nant song style is pop-country, Ryland has the silky-smooth voice of a true Soul Man. His vocals on this album are stunningly good. He has a high tenor voice with a great vocal range, superb control, colour and intensity, and an exquisite falsetto in the upper regis- ter, which is perfect for these evocative, emo- tive ballads.


Ryland plays piano, guitar, banjo, key- board, whistle, melodica and glockenspiel, and is accompanied by musicians on guitar, bass, synths, banjo, lapsteel, fiddle, bass and percussion. Together they perform loping rhythmic ballads (with funky lap steel and banjo) that are great for listening to in the car (try Bothy Man or Man Rhydd). There are also slow, expressive ballads in which Ryland’s soulful vocal is so good that at times he sounds like John Legend or Aaron Neville (try Nol or Ros Láir).


To those who know and love Welsh folk music, I can say that in Craig Cwmtydu Ryland has created an instant classic, a modern Welsh folk song with a toe-tapping rhythm and catchy refrain. Ryland has even rough- ened and deepened his vocal for this track, to give it a more traditional, folk timbre. The vocal style recalls Meic Stevens and the song’s anthemic quality recalls the glory days of Dafydd Iwan and Ar Log. A cracking song for open-air summer folk festivals!


sainwales.com Paul Matheson


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