Madeline is a force to be reckoned with. Celeste is the kind of beautiful woman who makes the world stop and stare.
Stating the very obvious, Martin Carthy is to English traditional folk music what Martin Simpson is to the delta blues, Martin Taylor to jazz guitar and Juan Martin to flamenco. The rationale of this collaboration between them, and coincidentally its strength, lies in pointing up and exploring the connections between these musical genres.
This CD presents excerpts from the collected Martins' touring show, recorded live in Glasgow presumably some time last year.
Fear not then, those of you who might think it's an excuse for an esoteric ego trip by four single-minded and self-absorbed musos; quite the contrary, it's an enticing and thoroughly accessible blending of their talents. You might, however, think it a bit naughty that out of the twelve tracks on the CD, there's only four where all four participants actually come together to lock horns or whatever; the remainder are personal showcases for the individuals two apiece.
But you can't argue that on every single selection the pure excitement generated by the playing is tangible - these musicians aren't mere technicians a charge that's often unfairly levelled at the jazzers in particularbut exhibit their skills with an abundance of prime musicality.
What matter that most if not all of the solo pieces have appeared before on other CDs by these artists, for these new live renditions have a frisson all to themselves.
His early introduction to the London Irish music scene in the milieu of which he grew up culminated in by his winning while still in his late teens the Senior All-Ireland title on the tin-whistle, then proceeded to devote his life to teaching, becoming "lost to academia" for the best part of the ensuing 30 years.
This redoubtable gentleman, best known hereabouts for his work with the London Lasses, brings the benefit of his keyboard expertise to accompanying Peter's tin-whistle on a generous collection of 18 sparkling tracks that breathe abundant life into assorted tune-sets that pair reels, jigs or hornpipes with each other, interspersed with the occasional air or set-dance.
As Peter says in his booklet notes, these traditional tunes have, it appears, been around for ever, but they sure retain their charm in his confident yet affectionate and committed renditions that retain that essential twinkle in the eye.
Measured in the most delightful and lively way, while taking inspiration from many of the classic interpreters of the tradition I rather liked his way with the Michael Coleman tunes on track 3 for instance.
Peter's playing is always tasteful, and often quite masterly.
And Pete's keyboard work is complementary in its subtlety, in its own right conveying both sympathy with the inflections and phrasings of the tin-whistle and its player, and a feeling for the contours of the music itself that allows for sensitive nuances alongside of the main instrumental focus or principal melodic input.
For the slow airs, Mr Quinn departs from the "pure" piano and instead provides understated keyboard chordings and embellishments: I do feel the keyboard tone encourages a touch of over-sweetness in intonation on Peter's part at times, though.
There's a touch of low-key doubletracking of keyboard parts here and there, but nothing at all obtrusive. But there'll be no argument that the music on this disc is still beautifully played and impeccably registered, and the two musicians are evidently completely in tune with one another and their craft; thus it proves impossible to find fault with that aspect of the disc I'll pass that task over to the hard-core specialists in this genre, but I suspect it will be a tough challenge.
Peter's own booklet notes are friendly and companionable, and provide some delightful personal-historical anecdotes amidst the informativeness, although some of his choices of tune namings may puzzle the aficionado. David Kidman January Sandra MacBeth - Conjugal Scene Teuchstar Listening to the soulful folk hue of Go Out with its percussive guitar rhythms and to the banjo and accordion accompanied fairground attraction handclapping bounce of Mooneyes, it's hard not to think of Macbeth more properly MacBeath as Edinburgh's answer to Glasgow's Eddi Reader.
Both have that slight warm burr to the voice, both write music that embraces jazz, folk and pop colours and both can summon either giddy joy or poignant sadness.
Kiss off opener Ya Hoe skips along with vocal whoops that make you want to run down the street clicking your heels in the air, Let It Go turns on the Brubeck juice for a brushed drums and piano jazz shuffle and with its lines about forty a day woodbine girls, transvestites in latex and pearls and randy truckers, Conjugal Scene is straight out of burlesque cabaret by way of Tom Waits.
The dominant mood of the album, however, is reflection, beautifully manifested in such emotion tugging numbers as the simple voice and guitar Alison's Song, the growing up late acquired wisdom of Waltzing In Blue and, best of all, piano ballad Eight Ball's tale of a thirtysomething housewife and mother's lost dreams.
She even manages to include a track called Babies which, for all its cooing 50s doo wop backing, tinkling piano scale and rock to sleep rhythm, manages to avoid any hint of twee.Urban Legend of The Boo Hag Essay - The Boo Hag Background Urban legends survive through time by having three elements: “a strong basic story-appeal, a foundation in actual belief, and a meaningful message or ‘moral’” (Brunvand 10).
These characteristics are not only inherent in the content of the story, but also in the performance of. Urban Legend of The Boo Hag Essay - The Boo Hag Background Urban legends survive through time by having three elements: “a strong basic story-appeal, a foundation in actual belief, and a meaningful message or ‘moral’” (Brunvand 10).
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