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115 f TRIO MIO


Polyglot Pike Go’ Danish Folk Music GO0518


It’s been four years since Trio Mio’s last release. But each time it’s well worth the wait, as violin, keyboards, and bouzouki/gui- tar twine gorgeously around each other on a selection of mostly original material by this Danish-Swedish band. Everything flows with such natural grace in the players’ styles that it sounds utterly natural, yet the arrangements are so fiendishly complex that at times it becomes hard to tell where one musician stops and the next picks up. That empathy is the sign of a good band. It helps, too, that the material is strong, hiding a swinging core beneath all the delicacy. Nothing is over- played and everything fits; take away a single note and a tune would be diminished. The compositional credits are even, and each gets a little showcase (on Alliken, for instance, Peter Rosendal’s piano seems to edge towards Thelonious Monk/Cecil Taylor territo- ry, but it sounds right). The single traditional piece, Adjö Farväl, has the only vocal, another way to mix things up. It all makes for a wel- come, slightly addictive return for a band that’s been crossing musical borders for 14 years now. Savour it, you might have to wait a while for the next one.


triomio.dk Chris Nickson VARIOUS ARTISTS


Fiddle Noir: African American Fiddlers On Early Phonograph Records 1925 – 1949 Old Hat Records OLD HAT LP-5001


Here’s a glorious thing. A new 14-track LP record from Marshall Wyatt’s Old Hat Records – the labour-of-love label from Raleigh, North Carolina, responsible for essential archive CD releases such as Good For What Ails You: Music Of The Medicine Shows 1926 – 1937.


Credited with production, analogue-to- digital sound transfers, art direction and album notes, Wyatt has compiled a tremen- dous selection of fiddle blues, ballads, break- downs, dance tunes and folk songs from his vast 78 rpm collection.


The music is uniformly excellent and the sleeve notes are insightful, without being overwhelming. For Wyatt and his ilk, one of the joys collecting old records is the detective work required to unravel the web of pseudonyms used by the recording artists. Walter Jacobs & The Carter Brothers is a thin- ly-disguised name for The Mississippi Sheiks’ Walter Vinson and Lonnie and Bo Chatmon (AKA Carter). The identity of Tampa Joe – who performs the rather bewilderingly titled Warm Wipe Stomp in duo with Macon Ed (Edward Anthony) – remains unknown.


From the hefty, 180 gram vinyl to the beautifully produced sleeve and accompany- ing booklet, this is a release of the highest quality and one which should help to dispel the lingering traces of that insidious distinc- tion in rural American music between ‘hillbil- ly’ and ‘race’ records.


Oh, and once you’ve got your tiny, blown mind around the idea of listening to a vinyl release of shellac recordings in CD quality, hop over to the Old Hat Records website, where you can fill your boots with tales of the “Gas- tonia textile strike of 1929” and “Otto Wood – North Carolina’s One-Man Crime Wave”. Your new lifetime obsession awaits…


oldhatrecords.com Steve Hunt


Toto La Momposina


TOTÓ LA MOMPOSINA Oye Manita Astar Artes AARCDA039


Raised on the Colombian coastal region, tra- ditional singer Totó la Momposina first trav- eled to Paris in 1979 during a period of partic- ular political repression in Colombia. In 1982 she joined Gabriel García Márquez on his trip to Stockholm to accept the Nobel Prize for Literature. She then called Paris her home, studying at the Sorbonne, hanging with the theatre company Collectif de la Rue Dunois, while busking and performing Afro-Colom- bian genres (afro, chandé, cumbia, gaita, garabato, puya, sexteto) at venues including WOMAD. There, in 1991, she met John Hollis, who became her manager.


In a profusely illustrated hardcover booklet with notes in French and English, Oye Manita is a smartly packaged 16-track revue of some of her definitive work, recorded in Paris, Bogotá and England between 1981 and 2001 – compiled and produced by Hollis, who with Totó contributed personal recollections to the notes. This collection is a worthy testa- ment to an artist who arrived in Paris penni- less, speaking not a word of French but deter- mined to perpetuate the Afro-Colombian tra- ditions of her youth in a remarkable career, never imagining that the French government would name her Chevalier des Artes et des Lettres in 2016


astarartes.com Michael Stone AMSHER


Patience Vaisey At Adwell 1892 Own Label 5 051078 963325


DAVID MILTON


Songs From The Bellman Story Records STREC 1801


Here are two albums from the folk scene in the south of England.


When Lucy Broadwood was staying at her cousin's house in Oxfordshire, she encountered Patience, who was the garden- er's wife. Lucy notated sixteen songs from her and they are all included here. These include some well-known items – The False


Lover, The Banks of Sweet Primroses, Banks of Sweet Dundee and the ubiquitous Bar- bara Allen. This last-named one has yet another very different tune and the other melodies show slight variations from stan- dard folk club versions; the sort of changes that fascinate those who study the way folk song tunes mutate.


There are also a number of interesting


lesser-known items that certainly deserve to be better known. It is surprising that songs like The Garland of Love and Oh Why Was I Tormented So are not better known; perhaps when this album gets around, they will be.


The songs are shared between three good singers, Alison Frosdick, Annie Winter and Anna Baldwin, mainly unaccompanied but with some unfussy accompaniments on fiddle, concertina and piano by Jack Burnaby.


The whole project has been researched and devised by Bob Askew and he deserves much praise for throwing light on this impor- tant early encounter between female singer and song collector.


bobaskew@hotmail.co.uk The title of David's album refers to his


role as Town Crier of the Somerset town of Watchet; but he is also a sculptor, a Punch & Judy man, a football referee and amongst other things, a singer of traditional songs and a songwriter, and we hear a mixture of both of these on this, his debut album.


His own compositions are solidly ground- ed in events in his town: a works closure, local boats, a Viking funeral that he participated in. The folk songs, perhaps inevitably, have strong maritime connections. They include a shanty that comes from the famed Watchet shantyman, John Short, as well as a whaling song and the opening and best track The Watchet Sailor.


His voice has a pleasantness and surety about it as well as displaying a relaxed quali- ty. He has members of his regular singing companions, The Old Gaffers, joining him on the response lines on the shanties, as well as some much younger gaffers, with Tom Moore and Archie Churchill-Moss amongst those bringing their considerable musical talents to the accompaniments.


story-records.co.uk Vic Smith


Photo: © Judith Burrows


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