Baltinget, Classic (GO, 2003)
The Fenians, Every Day's a Hooley (Mizen Head Music, 2004)
Smithfield Fair, Winds of Time (Stevenson Productions, 2003)
These three releases would be classed under the Celtic banner. However, all three are completely different from one another and stand on their own as individual interpretations based on ethnic Celtic themes. We have two American releases, from California and Baton Rouge Louisiana -- one based in Irish idioms and the other rooted in Scottish traditions -- and the odd one out, a Danish instrumental extravaganza with more than one Irish influence on occasion evident.
Baltinget come from Denmark, and Classic is their second album. They are a primarily instrumental outfit, with fiddle and accordion out front and a guitar/bass/percussion rhythm section. Musically, the result is Scandinavian-sounding in style but with strong Irish and Jazz twists, and recalls Lunasa and Sharon Shannon to my ears more than once. Classic features a gabhail of mostly home grown tunes collected from various local musicians and collections, and also the odd self-penned piece.
One of the biggest surprises for me as a reviewer was to find that Danish tradition has its own reels and jigs, just as do the Irish and Scottish idioms. 'Reventlow Jigs' and 'Berggren Reels' are two of the most striking sets on show for their familiarity, as well as for their fresh native take on Celtic formulations. The Danish jigs are sprightly as the Irish ones are, but also share a sharpness of tone and turn of phrase like those found in Scottish 6/8 jigs and pipe marches, and English Morris jigs. 'Berggren Reels', learned from fiddler Peter Gorm Sørensen, who played with Danish Celtic band Ashplant, possess a strong Irish lilt to them -- the first not unlike a cross between the 'Sailors Hornpipe' and 'The Mason's Apron', and the second not unlike Sharon Shannon in sound.
'Kaptajn Bille Og Jordomsejlingen' gradually builds from a gentle Sonderhoning to a powerful climax, complete with tense guitar/bass/percussion reminding me of a Scandinavian Lunasa. The playing is precise and confident throughout Tove de Fries' fiddle and Jesper Vinther Petersen's accordion leading the fray. For some fresh music for tired ears, Classic is a surprise and delight combined. Baltinget are a taste worth acquiring.
Visit Baltinget's Web site here.
Orange County in sunny California is the home of The Fenians, a Celtic folk/rock band of over a decade's longevity. Every Day's a Hooley is their fifth album and their first studio effort. Having mastered the live show and recorded their previous three albums in concert, they have returned to the previous achilles heel -- the cold confines of a studio. The result is a fresh vibrant album that captures their live excitement and adds further subtle nuances. Having seen The Fenians play live at the Cleveland Irish Cultural Festival in 2002, I was mightily impressed by their consummate professionalism, their work ethic and musical diversity. I felt if they could harness this in a studio, the result would challenge anything from Ireland or the UK in the folk/rock-Celtic rock stakes.
Nothing is wasted or over-emphasized, and the 'fun' element is still intact, but what Every Day's a Hooley really delivers is overall musical expertise and studio command. It's a good mix of the boisterous and the pensive, with songs like 'Bakers Dozen', which they play for laughs, live. Healthy doses of Americana also surface in 'Two Ten Train' and 'Rebel Sons of Erin', recalling an Irish American Nitty Gritty Dirt Band. Ballad standards like 'From Clare to Here' and 'Go, Move, Shift' get a makeover with stirring jazz-laced arrangements and fresh vigorous vocal harmonies. The dramatic arrangement of 'Grace', which onstage could topple over into kitsch, is sparing here with Chris Pierce's tenor vocals behind restrained backings.
Many deft instrumental touches add subtle yet notable luster. The fluttering of jazzy flutes and saxes combine with mandolin and acoustic guitars, eschewing the normal electric guitar overflow so implied with the Celtic rock term, lifts The Fenians from the morass. Every Day's a Hooley is shot through with class, inventiveness and experience, and it is definitely The Fenians' finest hour so far.
Visit The Fenians' Web site here.
I first thought Smithfield Fair took their name from the horse fair and market in Smithfield in Dublin, but Scottish lore, music and idioms are their main influence. They have played at folk festivals, highland games and Burns Suppers, and have recorded an album called Burns Night Out and other collections of familiar Scottish ballads. The husband/wife/nephew trio from Baton Rouge, Louisiana, has concentrated since 1989 on Scotland's living traditions, especially the songs and stories of the Highlands, singing in Scots Gaelic, Broad Scots, and English. They have shared stages with some of Scotland's finest performers, including Andy M. Stewart, Ed Miller, Johnny Cunningham, The Tannahill Weavers, Brian McNeill, Alasdair Fraser, Alex Beaton, John Taylor and Archie Fisher.
Winds of Time is all original material, and is the first recording of theirs that I have heard. The sound is big and dramatic at times, which befits the stirring ballads, but they are also able to handle quieter, more reflective moments. Dudley Brian Smith's voice is strong and personable on 'Twice around the World' and the up-tempo 'Company'. Jan Smith's darker tones suit the more melancholy ballads like 'Love is Eterna', and Frang Bleden's percussion and bodhrán add a solid backdrop to the predominant guitars, mandolin, bass, and accordion. While operating in a Celtic framework, this music is more contemporary folk in style -- songs rather than traditional ballads -- so it crosses borders easily and effectively. Smithfield Fair make good music that I wouldn't mind encountering again sometime.
Visit Smithfield Fair's Web site here.
From high energy, uplifting Celtic rock to instrumental virtuosity and low maintenance acoustic original ballads, this is a worthy and entertaining bunch of albums, highlighting Celtic music's overall diversity.
