04/06/2013
Kafe Koefet/Lak un’ all/Coop Breizh/2013
Personnel:
Cyril GUIGUIAN : Gitar
Erwan QUINTIN : Violoñs
Ludovic RIO : Akordeoñs kromatek
Thomas FORTIN : Bombard, Treujenn-gaol, Saksofon
Invités:
Jil LEHART : Binioù koz, Kan
Yannick DABO : Kan
Alain “Benny” NAËL: Kan
Website: http://www.kafekoefet.free.fr
Kafe Koefet, one of the hottest Breton acts going today, released the groundbreaking CD Trouz Ba’n Davarn (Noise in the Tavern) three years ago to significant and well-deserved acclaim. Without relying on overt gimmickry, they a forged an exciting sound that was recognizable and unique while still firmly grounded very squarely in the tradition of mixed instrument Fest Noz groups that began decades ago with groups such as Gwerz. Their new release, Lak un’ all, is sure to excite the curiosity of those intrigued by that first effort. Like the first effort, it contains the soaring violin of Erwan Quintin (here better captured than the first, live recording), the rich chromatic accordion of Ludovic Rio and the tasteful guitar of Cyril Guiguian, showcased a bit more than on the initial recording.
It is always an interesting point in time, the very first listen of a new recording of a well-loved artist. How have they grown and changed? Lak un’ all gives you a broad hint of the changes from the first moment, a powerful sustained note from the bombard with a brooding susurrus of accordion running underneath. Whereas the group’s original formula was at core a trio with accordion, violin and chromatic accordion, one of the more startling revelations of the first recording was the repeated guest appearance of bombard player Thomas Fortin. It therefore comes as no great surprise to see the group now appear as a quartet, with Fortin playing not only the bombard but the clarinet and soprano saxophone as well.
That first tune Ar Gêr Waremm (Laridenn) soon breaks into a compelling rhythm and rich harmonic support under a powerful, insistent melody line laid down by the bombard. The first thought that crossed my mind was “Penn Gollo”, and indeed there are a few moments during the bombard-led tunes, particularly the first part of the plinn suite, Modedonea, that seemed very pleasantly reminiscent of the lush sound and masterful, driving double reeds of the group Pen Gollo.
Fortin does not rely solely on the bombard, however. It is a familiar dilemma to a small group wanting to present a diverse and well-rounded program – as exciting as the bombard is, it can overshadow the other instruments and therefore many groups will come up with a way, either through arrangements or changing instrumentation, to vary the formula. Here the solution is the appearance of the clarinet and saxophone. Fortin’s clarinet is of particular note and this reviewer would like to hear a lot more of it. He has a remarkably appealing tone and touch on this instrument, as demonstrated so ably on pieces such as the march Poz Kafe (Ton Bale), where a lovely solo ends all too soon. The somewhat peculiar dance tune Ur Banne Cafea-Palinca ! takes the clarinet in a surprising direction, attempting to present a sort of hybrid of breton and klezmer music.
Fortin’s soprano saxophone fits a quite different niche. This is arguably this recording’s biggest flaw - the sax tone is just not quite right. I have no doubt that this was a problem in the studio. It’s not truly terrible or out of tune, but this tone would never be confused for, say, the flowing, jazzy sound of Bernard Le Dreau from Skolvan. On tunes such as Un Taol C’hwitell (Laridé-gavotte) the sax is used to play extremely fast, muscular passages, much like a more mellow-sounding bombard. The rather pinched tone that was captured in the studio, however, never sounds quite right and that is most unfortunate. Un Taol C’hwitell however, does showcase a typically satisfying Kafe Koefet arrangement where a dense, fast section builds to an exhilarating crescendo with the sax and fiddle playing a high, syncopated counter-melody over the top of the original tune.
Kafe Koefet’s first release also featured some wonderful vocal pieces featuring, most notably the great young singer Yannick Dabo, who returns here in typical call-and-response with the new standout guest, the legendary singer, luthier (instrument maker) and vocalist Jil Lehart. First appearing on biniou on the final portion of the Modedonea plinn suite, Lehart’s presence on this recording is very welcome indeed, whether instrumental or vocal. Dabo and Lehart have been performing as a successful vocal kan ha diskan duo since 2011, so folding their duet into a wider ensemble with Kafe Koefet on tracks such as Tristat Eo Ma Vlanedenn (Dañs Tro Fisel) is a tasteful venture into the formula popularized by groups such as Loened Fall. Lehart and Dabo are not the only vocal guests included in Lak un’ all, however, as the recording closes with Fendeur (Mélodie), a richly mellow, Gallo-language duet with Fortin’s clarinet accompanying vocals by Alain “Benny” Naël.
Lak un’ all, then, presents Kafe Koefet growing in a direction that expands outward from the original formula but for the most part does not depart from it radically. It is a worthy successor to Trouz Ba’n Davarn, and this reviewer cannot wait to hear what comes next. I must also note the consistent extraordinary quality of the hand-drawn graphic package for both CDs, listed as by Olivier Chéné. The drawings, particularly in this new recording, are exquisitely charming and evocative and I found myself wanting more of these as well as the music whose mood they captured so perfectly.
- Fañch
