Friday, March 02, 2018

Ireland's Music: Aine Minogue: In the Name of Stillness

Music is framed in silence. There’s a saying that as a painter paints on canvas. so a musician paints on silence.

Silence and stillness often go together. They are not the same thing, though. In both silence and stillness, there is music.

Music partners often with dance, and with other sorts of movement -- clapping, stamping feet, and such. Yet music, in both creation and listening, may also be framed in stillness.

Aine Minogue has called her most recent album In the Name of Stillness.

Minogue’s instrument is the harp. She is from Ireland, born in County Tipperary and with a master’s degree in traditional Irish harp performance from the University of Limerick. She has been resident in the United Staes, in New England, for some time.

You may hear the landscapes of both places in the nine instrumental and one vocal track on the album. They are all original compositions. Titles include Sitting Pilgrimage, Quiet Absence, Chant of Eternity, and Home of Belonging. In the Name of Stillness, Minogue’s fourteenth recording, is the second in a series she is calling Celtic Meditation Music. “Whether it’s used in meditation or contemplation,” Minogue says, “stillness helps to open or create more space for ‘something else to come in’ … more peace, clarity, balance, serenity, perspective. For me, stillness says it all.” 

Each piece, and the album taken as a whole, does invite reflection, and coming to a place of stillness. Music and the spaces between the notes blend into each other and lead the listener on a journey of spirit, and indeed, hope. Minogue’s harp leads the way, in quiet conversation with. on occasion, guitar, cello, oboe, clarinet, and keyboards.

In the sleeve notes which accompany the recording, Minogue has chosen words to go along with each track, which, she says, may be helpful to think about in establishing the mood of each piece. These include ideas from sources ranging from Wendell Berry to Thomas Merton to Chief White Eagle.

In the series of videos created to go along with the music (one of them is below) images and these words offer additional material for reflection. Each composition, Minogue says, is a "combination of blessing, community, ritual, and intention,” all things that are integral to Celtic spirituality and tradition. Silence which frames lines and notes of music is a vital part of composition and communication of musical ideas; one might almost say that Minogue’s work leads to contemplation of silence within the notes as well. Take a listen.

You may find out more at Aine Minogue’s web site.

You may also wish to see
Music for Winter’s Changes at Wandering Educaotrs, which includes a video of another track from In the Name of Stillness
Winter Through a Musician’s Eyes, at Perceptive Travel
Music and Mystery: A Conversation with Carrie Newcomer
Ireland’s Music: Cara Dillon: Wanderer

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Sunday, February 25, 2018

Ireland's Music: Cara Dillon: Wanderer

Cara Dillon comes from Dungiven, a small town in Country Derry in Northern Ireland. Growing up, there was music in her family, and in the town, That turned out to be Dillon’s calling. It has, over the years, taken her into a range of music experiences and also taken her across the world in the sharing of her music. It seems natural that her most recent album would be called Wanderer.

It is not the album Dillon and her musical partner and husband, Sam Lakeman, set out to make at this point in time. They were working on a different project, when, Dillon explains, songs from Derry, many she’s known since her early years, kept coming to her mind. She’d sing them while working about the house or preparing meals for the family at their home in the west country of England. “Sam would come through the door and say ‘What song is that? That’s a good song --let’s record it!’ ” Dillon says.

The couple decided to keep the production of the ten tracks stripped back and spare. There are a few guests -- Kris Drever, John Smith, Justin Adams, Niall Murphy, and Ben Nicholls-- tastefully deployed to enhance the feeling of space, landscape, and journey in the songs. Dillon sings with a storyteller’s grace; Lakeman’s piano and acoustic guitar work quietly to enhance the dialogue among melody, idea, and voice.

There are seven traditional songs, two Dillon/Lakeman originals, and a cover of Shaun Davey’s Dubdhara. In sharing the songs, Dillon and Lakeman create a fine balance between sadness in leaving and warmth of connection with well loved people and places. Derry, which is the big town for the region of Dillon’s homeplace, is very present both directly and indirectly in the songs.

“Derry has seen so much, it’s like the walls can speak,” Dillon says. “It’s one of those places that’s quite magical, when you start to read and hear about all that’s happened there, but the most wonderful thing is that people are so proud of their culture, because it’s been threatened for such a long time, so now there’s this lovely tradition where people have passed songs along with great passion.”

Some of those threats she alludes to were political; Derry is very near the border between the Republic of Ireland and the North, which long before official partition of the two countries was a flashpoint for strife. Derry was also a major emigration port for centuries. That’s not only in the distant past, either; Dillon’s mother told her a story from her own childhood about a relative who was emigrating and slipped quietly out the door unseen during his farewell party, and the sadness that came over the whole house when people understood that he had taken his leave. That story stayed with Dillon and is the basis for The Leaving Song.

The dew’s on the grass
We’ve finished the glass
The dawn’s on it’s way, now
But my son leaves today
God help me I pray
God help me i pray

Slip out the door, love
But don’t say goodbye
Just take one last look at this
Northwestern sky

“I’m a mother myself now,” Dillon says, “ and so I can imagine the pain they must have felt.”

That points to one of the gifts Dillon and Lakeman share through the songs on Wanderer, though: that sadness can be shared and hope can heal. You could hear The Tern and the Swallow as a lament, which in some ways it is. If you’re far from from your native land, especially if that land is Ireland, it may have you wanting to return right away. It is also, however, a song filled with acceptance and hope. So is the rather more upbeat song The Banks of the Foyle, which forsees a happy ending of a life in Derry for lovers separated for a time. Both Sides the Tweed is a classic song of wishing for freedom and reconciliation, which has often been recorded. Dillon and Lakeman put their own own stamp on it in the spare version they create, while remaining very true to the song.

“We always try to keep the song at the forefront of what we do, myself and Sam,” Dillon says, “because we both have such a great respect for the tradition. The way we describe it to each other at times is that it’s like finding a really beautiful gemstone and trying to find the right setting for it.”

They have done that for the songs that they have chosen for Wanderer. From the returning home of The Tern and the Swallow through to the setting out on a journey of Dubdhara, it is a journey well worth the taking with them. Explore The Wanderer more than once: each listen will reveal new facets of those gems and their settings.

Concert photographs made at the Celtic Connections Festival in Glasgow, with permission of the artists, the festival, and the venue.

You may also wish to see
Ireland’s Music: Cara Dillon: A Thousand Hearts
Autumn: Music of Harvest and Home at Wandering Educators
Music for a Winter’s Eve at Wandering Educators
Cathie Ryan: Through Wind & Rain

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Sunday, December 03, 2017

Music of Winter: Hope, Faith, and Frames -- Songs from Emily Smith and Carrie Newcomer

Advent: it is a time of preparation, reflection, of turning of season. At times those things -- the silence, the stillness, the preparing of hearts and souls and minds for the miracle of Christmas -- is lost or at least pushed aside by the rush of day to day life and concerns.

Yet, one of the big lessons of Advent, and of winter, for that matter, is the persistence of hope. Faith and hope at times seem at odds. At other times it is clear they are interwoven. Whatever your faith, whether Advent on the calendar forms part of it or not, this is a season for seeing beyond the tinsel and the lights -- and for seeing the lights and the tinsel as pointers to and reminders of hope.

That is an idea Emily Smith explores in her song Find Hope. You may find it, and other excellent songs, on her album Songs for Christmas.

It is an opportunity to consider how we frame things, at Christmas and through the year, too. That is an idea Carrie Newcomer muses on in her song A Shovel is a Prayer. You may find the song on her album called Live at the Burskirk Chumley Theater..

You may also wish to see
Emily Smith: Echoes
Candle in the Window
Songs of Hope
Music for the Heart of Winter: Cathie Ryan
Music and Mystery: Conversation with Carrie Newcomer

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Monday, November 13, 2017

Travels in Music: Alasdair Fraser and Natalie Haas, and Hanneke Cassel

Ports of Call is an appropriate name for a recording by Alasdair Fraser and Natalie Haas. Both their personal histories and their work as a duo include many points of the compass.

Fraser is a fiddle player, composer, and master teacher, a native of Scotland who has been long resident in California. Haas, whose instrument is the cello, grew up in California, studied in New York, lived for some years in Quebec, and is based in the Boston area.

That all comes into play through the music they have chosen and composed for Ports of Call. They explore tunes from Sweden, Norway, Galicia, Scotland, Finland, and France. There are original compositions by both of them, as well.

The Silver and Stuff set includes the title tune, a Norwegian bridal march, as well as a Swedish polska and an Norwegian hailing. A departure, you might think, for a pair best known for their interpretations and compositions of the music of Scotland? There are Celtic connections through long history of trade and travel between the Celtic lands and the Nordic ones, though, and Fraser and Haas are both always adventurous travelers across the world of music as well. The march into dance melodies and and then into another sort of dance in will have dancers twirling in your imagination. The music works both in idea and in melody.

That is also true of the reflective piece Walzska for Su-a, which Haas composed for friend and fellow cellist Su-a Lee while Lee was on a visit to Montreal. There’s a hint of love for the dark tones of Nordic cello in this piece, as well as, just maybe, a trace of Quebecois dance.

Lively melodies fill the Keeping Up with Christine set, which comprises a tune Fraser wrote while in Adelaide, Australia, and named for that city. The second tune honors Fraser’s sister, who, Fraser writes in the album’s notes, “has achieved so much as a leader and instigator in the field of education and beyond.”

It is to the familiar place of Scotland they return for the Freedom Come All Ye set, in which that well known song of political comment by Hamish Henderson is imagined anew as an instrumental piece, and paired with an original jig by Haas.

There are more adventures in music to be found on Ports of Call, all of them part of the continuing conversation Alasdair Fraser and Natalie Haas create with their instruments. They chose these pieces to convey stories both original and traditional, which they do with understanding, clarity, and grace.

Hanneke Cassel knows well how to bring the qualities of clarity, understanding, and grace to her music, as well. A native of the US west coast, Cassel began her fiddling days in western swing. Before long, though, she was drawn into the music of Scotland. One of her teachers along her way into the tunes of Scotland and other Celtic musics was Alasdair Fraser.

Long a resident of the Boston area, Cassel has chosen to call her most recent recording Trip to Walden Pond. There’s a personal connection to that place for Cassel, and there are tunes on the album that connect to Kenya, China, Cape Breton, Scotland, and other places too. Cassel loves to compose tunes, and she also loves the work and the people of Many Hopes. That is a place in Kenya which, as she explains in her notes for the album, “rescues children from poverty and abuse, educating them to lead the next generation with justice and love.” To assist in raising funds to support Many Hopes, Cassel offered to compose tunes in return for donations. She asked donors to tell her their stories. Many of the tunes for Trip to Walden Pond arose from those stories.

Trip to Walden Pond is an adventure in contemporary Scottish American music. Cassel is known as much for her joyful personality and quick wit as she is for her thoughtful and reflective side: all of this comes in to her composing and playing. The Conchas Chinas set brings together three pieces whose melodies flow one into another with quiet strength. Coilsfield House is a tune from Scotland’s tradition: it was composed by famed late eighteenth century fiddler Nathaniel Gow. Cassel dedicates the tune to Carol Ann Wheeler, the teacher back in Oregon from whom she first heard it and the woman who, she says, first taught her to love the fiddle.

The Buddy’s Strathspey set is, as you might think is you know of strathspeys, a lively set which may have you dancing yourself or at least tapping your toes. The title tune of the set is one Cassel composed in honor of the late Buddy Macmaster, a legend in Cape Breton fiddle playing with whom she studied. The set includes two tunes she learned from another top class Cape Breton master, Jerry Holland. A set that celebrates an intricate dialogue between fiddle and piano, These 30 Years (for Jennifer) frame Cassel’s fiddle with piano played by longtime musical collaborator Dave Wiesler.

There are many more tunes on Trip to Walden Pond, ones that will take you from celebrating to dancing to reflecting. Cassel does not sing or speak a word yet the voice of her fiddle speaks eloquently of all these stories. Among them is the one inspired by that trip to Walden Pond.

That is a favorite place for this New England based artist.The tune itself is a lively reel that is based in Scotland while giving an nod now and then to bluegrass and Americana influences. On this tune and across the music of the album you will notice the creative work of Mike Block on cello. Block is part of the Grammy winning Silk Road Ensemble, and is a respected as an innovative teacher and performer. One day, Cassel wanted to show her longtime friend Block Walden Pond. The next day, Block proposed. Soon after, she began writing the tune. Not long after that, the idea for the album began to circle around that piece.

You might also want to listen out for a tune on Ports of Call from Fraser and Haas -- it’s called Hanneke’s Bridal march.

You may also wish to see
Abundance from Alasdair Fraser and Natalie Haas.
For Reasons Unseen: Hanneke Cassel
Cathie Ryan: The Farthest Wave on which Hanneke Cassel plays a lovely fiddle break on the title track
Sounds of Cape Breton: Mary Jane Lamond and Wendy MacIsaac
A different version of Freedom Come All Ye: Robyn Stapleton sings the song, backed by Skippinish

Waterfall in Skye photograph by Steelogic; performer photographs by Kerry Dexter. Thank you for respecting copyright.

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Monday, November 06, 2017

Circle of Song: Jayme Stone's Folklife and Macmath: The Silent Page

How does get passed along? Consider what two groups of musicians have done with very different songs of heritage: they have taken the music into their own lives as artists. By doing that they make the music, the stories it tells, and the lives of those who created it, real and inviting to listeners in the present. Music as time travel and as stories for the future, if you will.

Jayme Stone is an award winning banjo player, producer, and composer. In the project Jayme Stone’s Folklife, he joins up with singer and accordion player Moira Smiley, fiddler Sumala Jackson, and bassist Joe Phillips to explore, imagine, and at times reinvent music from across the landscape of American song. Rather than consider early field recordings and other sources on which they drew only as snapshots from generations past, Stone chose to look at them, he says, as heirloom seeds.

“I’m not collector,” Stone says, “Nor am I particularly nostalgic. I revel in the act of discovery.” With that in mind he brought Phillips, Smiley, and Jackson, three equally adventurous musical friends, together “to help blow the dust off these carefully chosen songs, uncover their hidden histories, and till fresh soil to see what might spring forth from these sturdy seeds.”

Quite a lot does. There are ten tracks on Jayme Stone’s Folklife,, drawn from seedbeds in Caribbean islands and in Mississippi, from the rural church tradition of sacred harp singing to the low down rhythms of a backwoods dance hall. Story, harmony, powerful musicianship with both instruments and voices, and the sheer energy, creativity, and joy of collaboration are what connect this diverse group of songs.

Every cut is worth exploring more than once. Listen out especially for Buttermilk, with guests Dom Flemons and Ron Miles, and Stone’s work on a prepared banjo (that’s one with objects added to the strings, making for a unique sound -- it’s still a banjo, but listen...). You will also want to hear what Moira Smiley does with the lead voice part on There’s More Love Somewhere. All four join on the singing for Hallelujah, along with guests Felicity Williams and Denzel Sinclaire. You may find yourself singing along -- and dancing along -- to these songs, which may feel familiar even if you’ve not heard them -- or not heard them like this -- before. Jayme Stone wishes that for you. “These songs are yours too,” he says. “Sing them, plant them in your yard, graft themto your own musical tree. Keep them watered and even if they lie fallow for a spell, they’ll revive. Folk songs are perennials.”

That is an idea the musicians who joined up as The Macmath Collective understand. It is what they’ve done with their recording Macmath: The Silent Page.

It began with two handwritten books. Perhaps you’ve heard songs referred to as Child ballads? Even if you’ve not you’ve no doubt heard some of the songs themselves, or sung them: Barbara Allen, Matty Groves, The Cherry Tree Carol, and dozens of others have entered the folk and popular song landscape, been adapted, and revised and handed on because Francis James Child, a professor at Harvard, published the books called The English and Scottish Popular Ballads in several volumes between 1882 and 1898. William Macmath, from Galloway in southwestern Scotland, loved music and the stories told through it. He was one of the people Child relied on to gather songs for him. Artist Edward Hornel (one oof the group of painters known as the Glasgow Boys ) bought a collection of papers which included those two handwritten books, and they ended up the collection at his home in southwestern Scotland. More than a century later, songwriter and community choir leader Alison Burns came across them, and in her words “began to think about ways to sing this paper collection back to life.”

Most of the songs and stories in the books were told directly to William Macmath by people who knew them and lived them in southwestern Scotland. It seemed natural then to turn to musicians in living and working in that region today with the idea. Wendy Stewart, one of Scotland’s top harp players, joined on, as did flute and fiddle player Claire Mann, who has won many All Ireland titles and been a principal flute tutor on the Scottish Music course at the Royal Conservatoire of Scotland. Guitarist and bouzouki player Aaron Jones, who has toured the world with artists including Old Blind Dogs and Kate Rusby, and singer Robyn Stapleton, who was named Scotland’s Young Traditional Musician of the Year by BBC Radio Scotland in 2014, were in. So were Jamie McClennan, who brought his fiddle and guitar talents to Scotland from New Zealand more than ten years ago, and Emily Smith, who is five albums into a solo career which includes awards for her songwriting and singing, among them twice being named as Scots Singer of the year by BBC Radio Scotland.

That’s an impressive group, yes. But what does the recording sound like? “We decided early on that our goal was to make a collection of singable songs with great arrangements,” Burns says. To that end, they sometimes tweaked some of the lines to help them fit with the music, and on occasion found local tunes or wrote new melodies where no music for a song existed.

There are thirteen songs on the recording. You may find song lyrics, story lines, perhaps melodies or phrases of music that will seem familiar, but you’ve not heard them quite like this before. There are love songs with happy endings and with not, fantastical tales, song which evoke the natural landscape and the world of fairies, a nonsense rhyme or two, stories of unusual people, advice on marriage, all framed in tales that people enjoyed singing and handing on through hundreds of years.

“We’ve chosen songs that were unusual, rare, or unique to the collection,” Burns points out, adding that while some of the stories may be familiar or you may have heard other versions of the songs, “the reason that you do may well be down to the work of William Macmath in recording and sending them on to Child for publication.”

In the hands and voices of these musicians the songs are no museum pieces, though. Source material, rather, and stories which on their own reflect and share the lively tale telling and singing that has taken place in southwestern Scotland through the centuries. Listen out especially for the lively tale of the cabin by in The Golden Vanitee and the story of love challenged by obstacles real and fantastical in The Queen of the Fairies. The joy of collaboration in music comes through in the singing and playing of the Macmath Collective on every track.

Singing songs back to life, reaching across time to share thoughts, ideas, celebrations, and stories: these are at the heart of the work on Macmath: The Silent Page and on Jayme Stone’s Folklife.

You may also wish to see
Emily Smith: Echoes
Music for Reflection with a song from Robyn Stapleton
Geography of Hope with a song by Moira Smiley
Carrie Newcomer’s album The Beautiful Not Yet which Jayme Stone produced and on which Moira Smiley sings harmony

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Friday, September 29, 2017

Celtic Colours on Cape Breton

Cape Breton is a fascinating place to explore at any time of year. When autumn landscape, community welcome, and generous sharing of the strands of music which weave though life in this island in Atlantic Canada come together each October at the Celtic Colours International Festival, it’s really time to be on Cape Breton.

This year, 2017, the festival runs from 6 through 14 October as it marks its twenty first season of concerts, workshops, community meals, and cultural experiences all across the island. Visiting artists from Scotland, Ireland, the United States and many parts of Canada will inform the music this year. There’s a special emphasis on Canada’s artists this year as Celtic Colours joins in celebrations across Canada marking the150th anniversary of Confederation.

People were coming to this island in the far north of what would become known as Nova Scotia long before 150 years ago, however. They were making music then, too.

The fiddle is one of the most portable of instruments. When people were driven from their homes in the Highlands and Island of Scotland by landlords who thought livestock would bring better profit than farms, often there was little they could take along. The music and dances in their memories and in their hearts survived, and in many cases, so did their fiddles. Those memories and those fiddles became the basis of their music in the new world.

As much as that music and dance carried on the traditions of Scotland, new elements had their influences. Back in Scotland, music and dance continued to evolve, too. One place where all this comes together in the 21st century is at the Celtic Colours Festival.

The theme of Celtic Colours this year is Roots. It’s an idea which encompasses both the depth of connection and community which make up the island’s cultures and the need to nurture and connect and evolve what is now and what’s to come. This is all present in the music which anchors the festival, and is marked in varied ways in the sharing of arts, crafts, community meals, and other events.

A few things you may expect at Celtic Colours this year:

We Walk As One: the Grand Opening, is a concert which takes place in Sydney at Centre 2000, will feature artists from Scotland, Ireland, Nunavut, and from the Acadian and Scottish communities of Cape Breton. The trio of guitarist John Doyle, flute player and piper Michael McGoldrick, and fiddler John McCusker account for some of the Ireland and Scotland presence as they make their festival debut as a trio. Swing du Sutete brings dance from the Acadian tradition, while singer IVA from Nunavut makes her first appearance at the festival and Cape Breton group Coig returns. Fellow Cape Bretoner Heather Rankin, long known for work with her family band, makes her solo debut at the festival this night, while Cathy Ann McPhee and Patsy Seddon add in Scotland’s presence.

This sort of evening is a tradition at Celtic Colours: every concert -- and most nights there a half a dozen or so going on across the island -- includes several acts. Each plays a set and then they join for a finale. Each evening in this way serves as an ambassador for several sorts of music, and the connections among them.

Across the nine days of the festival, you will a fiddle summit, a gathering featuring First Nations artists, a performance which will take place in historic Fortress Louisbourg, and a tribute concert to John MacDougall, who composed 38,000 tunes. Most evenings offer performances from musicians of differing cultural stands, drawing on connections and contrasts so all may celebrate and learn.

Six songwriters from different parts of Canada will have been working for a week to write material for their concert Songs from Scratch. Gaelic song and Gaelic infused piping, fiddling, dance,and piano playing will fill Saint Matthew’s Church one afternoon in Inverness as Seudan, based in that other Inverness meet up with Cape Breton fiddlers Shelly Campbell and Andrea Beaton and others.

There might be a bluegrass and jazz tinge to things as Grammy winning banjo player and composer Alison Brown from the US joins top Cape Breton fiddle player Kimberley Fraser and Scotland’s Paul McKenna for the Cow Bay Ceilidh.
It’s sure to be an evening to remember when Boston based Scottish style fiddler and composer Hanneke Cassel and her band mates Mike Block on cello and guitarist Keith Murphy share the bill with dynamic African American roots based singer Rhiannon Giddens and Cajun/old time singer Dirk Powell -- and take note, Giddens and Powell are both ace banjo players, too. Ben Miller and Anita MacDonald will add Cape Breton pipe and fiddle tunes to the night as well.

The learning and sharing ad collaboration is not limited to each night’s featured concerts. There are workshops, master classes, and talks to do with music, of course, and you’d have many chances to take part as a players, dancer, or observer, in a ceilidh -- a party with music and dance. You’d have the chance to learn a few steps, too, or you could learn a bit of Gaelic, or perhaps how to hook a rug in the longstanding Acadian way, or try your hand at painting sea scene or learn about blacksmithing with a side of tunes and talk. You could go for a guided walk in the outdoors of Cape Breton autumn, take in art exhibits, create your won art as you try your hand a pumpkin carving, and visit farmer’s markets and craft shows.

If you are not quite ready to wind down after the main concerts each night, too, the always popular Festival Club at the Gaelic College at Saint Ann’s keeps things going until the small hours of the morning.

The people of Cape Breton are warm and welcoming, you’ll find, and very ready to talk and to listen as you participate in all these things. Another great time for Cape Breton conversation is over a meal. You’ll have good chance to do that: there are breakfasts, lunches, afternoon teas, and dinners a plenty. Seafood is a big deal on this island, and you will find ham, roast beef, turkey, Scottish and Acadian specialities, and plenty of veg and desserts on hand too. Groups across Cape Breton step up each year to prepare and host community meals.

The Grand Finale of the music concerts of this twenty first year of Celtic Colours will take place in Port Hawkesbury. Powerful singer and guitartist JP Cormier will bring in the Cape Breton presence. Imar, a high energy group formed of members from top Celtic nations bands, will likely blow the roof off the hall, but if they have not, then Rhiannon Giddens and Dirk Powell are quite powerful enough to do that all on their own. This year’s festival artists in residence, songwriters Buddy MacDonald and James Keelaghan, will no doubt have surprises to share, as will top irish American group Cherish the Ladies, who have been thrilling audiences across the world with the thoughtful and lively sides of Irish music for more than three decades.

This is just a taste of what’s in store across the nine days of this year’s Celtic Colours Festival. Even if you’ll not make it to Cape Breton for Celtic Colours this year, explore the festival’s website to learn about this vibrant place where, as the festival’s artistic director Dawn Beaton says “Music is a powerful force that feeds the soul.” Keep an eye on the Celtic Colours website too to learn if, as has been the case in past years, some of the festival’s concerts will be live streamed online.

One other thing: as part of the living legacy of the festival and to honor this special anniversary in the story of Canada, Celtic Colours will partner with Strathlorne Nursery in Inverness and community partners across the island to plant a maple tree for every ticket sold. Last year there were around 22,000 tickets purchased, so the spring of 2018 should see a big season of maple planting across Cape Breton!

Photographs of Michael McGoldrick, Alison Brown, Hanneke Cassel, Dirk Powell, Rhiannon Giddens, and Joanie Madden (of Cherish the Ladies) made with permission of the artists, by Kerry Dexter. Thank you for respecting copyright.

You may also wish to see
Canada’s music: Catherine MacLellan who will take part in the Songs from Scratch project
Celebrating Cape Breton’s Heritage and Connections though Music
Sounds of Cape Breton
Scottish Musicians Look at the Future of Our Past
Women of Ireland: Music
Reflections, Travel, Music: Music and its Power to Connect

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Saturday, September 23, 2017

Scotland meets Americana: Elias Alexander & The Bywater Band

Oregon, Scotland, Vermont, New Orleans, Boston: each of these places plays a part in the geography of Elias Alexander’s music, and of Bywater, the band he formed with musical friend Eamon Sefton, Kathleen Parks, and Patrick Bowling.

Alexander grew up in Oregon. On a family visit to Scotland as a teenager he fell in love with the sounds of Scotland’s music. Beginning with whistles (which he still plays), he went on to learn Highland and border pipes, and fiddle. Back in Scotland one day, on a break from work planting trees, he sat by a stream. He had his whistles with him -- good thing, too, as jigs and reels and all sorts of songs and tunes came pouring out. That was when, he says “I knew that traditional music was going to become... something I was wholly dedicated to.”

It wasn’t quite a straight forward path always, though, and for a time he felt he’d lost direction. Dropping out of university in Vermont, he ended up in New Orleans. Busking on the street, he found ways back to the music, leading him to return to Vermont to finish his university studies at Middlebury College. Then he moved to Boston to join the thriving Celtic music scene there. It was tin Boston, too, that he met up with the three friends who’d become the Bywater Band.

The album Bywater, Alexander and the band’s debut recording project, shows how he and they have taken ideas from Celtic traditions along paths which respect that yet create something new. The Reclamation, for instance, begins as a march which leads into bluesy solo turns from pipes and from fiddle. It was written, Alexander says, “in support of those taking back their culture and their land.” The set Murray’s comprises a Gaelic song learned from Gillebride MacMillan (whose music you’ve met here along the music road),a tune from Alexander first pipe teacher, a piece written by the band to honor the place where Eamon Sefton grew up, and a tune called the best session ever, which, Alexander writes “happened in Boston after Hanneke Cassel and Mike Block’s wedding.” You’ve met both Mike’s and Hanneke’s music here before too.

Sunset run is, as its title might suggest, a quieter, more reflective set, which the band handles equally well. The name Bywater is meant to honor both Alexander’s experiences in the New Orleans district and his time by the stream in Scotland, and their connections in Alexander’s life. That thread of connection to water plays out also in the song Earth and Stone, as Alexander sings of his family’s story of emigration, a thoughtful piece that asks good questions as well as tells good stories.

The tunes and songs on the album range across tempo and idea, though they remain grounded in the music of Scotland. Each of the four band members is well accomplished at both taking lead and supporting the other three, and in creating arrangements which allow their talents together and individually to shine. Bywater is an engaging debut> Each of the band members works on other projects, and it will interesting to see what path they take when next they join up.

You may also wish to see
Hanneke Cassel: For Reasons Unseen
A story about the album Mary Ann Kennedy and Na Seoid, with information about Gaelic singer Gillebride MacMillan -- you will have seen him as the bard in Outlander, too
Katie McNally: The Boston States
A bit about bagpipes --mainly Highland pipes -- at Percpetive Travel
Web site of Elias Alexander

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posted by Kerry Dexter at 0 Comments Links to this post