Music Reviews

Alambig Elektrik, Vorlenn’s Stomp, Coop Breizh, 2014

09/02/2014

Alambig Elektrik/Vorlenn’s Stomp/Coop Breizh/2014

Personnel:

Lors Landat : kan / chant

Gaël Runigo : akordeoñ, programmiñ / accordéon diatonique, programmation

Roland Conq : gitar / guitare

Par Pereira : trompilh / trompette

Ronan Le Jossec : enrolliñ ha meskiñ / son et mixage

Invités :

Philippe Janvier : bombard, biniou / bombarde, biniou

Youenn Le Cam : biniou

Eric Menneteau : kan / chant

Mathieu Sérot : bombard / bombarde

Pierrick Tardivel : gitar boud / basse

Julien Boussamba : remix

Alambig Electrik made a splash in 2010 with their first recording, the humorously titled Disadorn Noz Fever (Saturday Night Fever). The veteran lineup featured Gaël Runigo on accordion, Youenn Le Cam on trumpet and MIDI samples, and Roland Conq on guitar – joined by a few talented invités such as Pierrick Tardivel (bass) and Lors Landat (vocals). Their unique approach combined ambitious, layered arrangements augmented with sampled sounds (programmation), high-energy material and a good dose of humor. The group performed in loud, over-the-top “crew vintage” seventies lounge and disco wear and sported matching oversized sideburns. Drawing heavily on traditional material, the jazz influence, trumpet and electro-world percussion all combined to create a pleasing whole that also appealed to pop sensibilities.

Now a second recording, Vorlenn’s Stomp, has burst upon the scene with a mild reshuffling of personnel and a corresponding slight change to the band’s name, now Alambig Elektrik (with a k). While Disadorn was an intriguing and entertaining debut, the group has struck pure gold with Vorlenn’s, easily one of the best Breton recordings of the year. Vorlenn’s Stomp takes all of the charming elements that made their first recording so likable and bumps them up a notch, while scaling back the use of the sometimes distracting exotic sampled sounds such as lengthy vocal and percussion loops from Africa and Asia. This is due to two key changes in personnel.

The first change is the promotion of vocalist Lors Landat from invité to not only full group member, but charismatic frontman. Landat had been a standout if sporadic presence on the first recording, and here his warm tenor takes front and center stage on the majority of the tracks. This strong vocal presence negates the need to rely on extended stretches of sampled “Deep Forest” style world-music vocals and sounds, which is a relief, and is the perfect focal point around which the group builds complex arrangements of instrumentation. “I have assumed the role of the ‘soloist instrument’, allowing Gaël and Pat to devote themselves to harmonies and rhythm” Landat said recently in an interview with Musique Bretonne magazine. Whereas the first recording was primarily instrumental with a scattering of vocal pieces, Vorlenn’s reverses the formula and has only a couple instrumentals.

The second change is the departure of trumpet player Youenn Le Cam, who bowed out to focus on his new high-concept project, the group N’diaz. This left accordionist Gaël Runigo to take up the ‘machines’, considered to be integral to the group’s sound and identity. Runigo’s take on programmation is, for the most part, significantly more subtle and nuanced than that found on the first recording.

Obviously a replacement trumpet was needed as well and here is the other standout presence of this recording, new group member Patrick Pereira. Pereira, who comes from a jazz background, has created trumpet parts that are incredibly listenable: always fresh, engaging, changing, innovative, and full of exciting musical ideas. Says Landat of Pereira, “Youenn knew how to play a phrase on the trumpet like a bombard or biniou because he has played those instruments for many years. Pat approaches the instrument differently. He uses another logic, he speaks another musical language. But it is all part of the richness of the group!”.

Vorlenn’s Stomp is a heady cocktail of influences, beautifully recorded and presented with gorgeous graphics in a full packet design. It simultaneously succeeds both as traditional Fest Noz music and as pop music. It is lighthearted and fun, but the material is complex and can be listened to at great length. The only piece of music on Vorlenn’s that is not, strictly speaking, part of the traditional dance repertoire is the delicious, pop-inflected number “Redadeg 2014”. This song and the accompanying video were contributed to the very popular “Redadeg” relay race (and concert) across Brittany which annually raises funds for Breton language education. The accompanying video is incredibly charming and funny and expresses a lot of what makes this recording and group so impressive.

Exciting melodies, deep arrangements, a distinct sense of fun and an eclectic palette of mood and feel all add up to a unique and unforgettable sound. Many groups show promise on an initial recording that the sophomore effort fails to keep, but here we find a second recording that not only builds upon what came before, but transcends it.

All quotes are from the article “Alambig Elektrik”, Musique Bretonne magazine, N 239, translation mine.

-Fañch

Joa, ‘Joa’, 2013

11/03/2013

Joa/Joa/2013

Personnel :

Malo CARVOU : fleüt-treus

Ronan BLÉJEAN : akordeoñs

Armel AN HÉJER : kan

Invités :

Soïg SIBERIL : gitar

Jamie MCMENEMY : bouzouki

Xavier LUGUÉ : gourrebed boud

Website: http://www.joa-music.eu

A sensitive, transcendent new release that transforms the ultra-traditional Breton singing tradition into a high art form of vocal and instrumental expression.

With the eponymously titled first recording of his new ensemble Joa, vocalist Armel an Héjer has finally found the aural setting to fully showcase his remarkable voice. Certainly there is no dearth of talented vocalists in Brittany, but Héjer’s voice is of a caliber that puts him into a class of his own: focused, melancholy, soulful, with a potent and rich timbre. To think of a male vocalist of a similar quality is difficult; one might be drawn to a comparison with the great Yann Fañch Kemener. Both have tremendously appealing voices, but where Kemener’s suggests a dramatic, almost operatic setting, Héjer’s seems more personal and earthy, reminiscent of the meditative vocal traditions of central and south asia.

Over the years Héjer has frequently appeared with the duo of flutist Malo Carvou (who also came over to Joa) and guitarist Bernard Bizien. These three formed the Ozan Trio, and also formed part of the larger Fest Noz ensemble Deust’a. Héjer did not, however, come along with the duo a few years ago when they joined Jamie McMenemy’s group “Jamie McMenemy 4”, which put Carvou and the talented accordionist Ronan Bléjean (formerly of the group Darhaou) on stage together. Bléjean is the third member of Joa.

Joa, then, replaces Bizien’s guitar with Bléjean’s accordion and thus the core group is comprised entirely of winds and reeds. More than just replacing one player with another however, Joa entirely drops the influence of gypsy jazz and swing prevalent in the former for a new sound that is perhaps more straightforwardly Breton, although in saying that it must be clearly understood that this reviewer has never heard anything quite like it before.

This is a gorgeously recorded CD. Close-miked, every nuance of breath and swelling of a note or reed is captured in detail – and those nuances are there in abundance. What an emotional, expressive recording. Whether a slowly pulsing, breathing meditative backdrop of flute and accordion to an impassioned vocal piece, or one of the lively instrumental numbers that speckle the diverse menu, the rhythmic and tonal quality is organic and compelling. The arrangements are deep, tasteful and always moving.

Joa provides a varied program of slow and faster-paced vocal tracks and instrumentals that keeps the listening experience fresh and diverse. The few tracks where guest players (invités) are brought in to provide additional complexity are especially intriguing. Given the other musicians involved, it is no surprise to hear bouzouki player Jamie McMenemy (Kornog, etc) appear here. McMenemy also brought along his longtime musical friend the legendary guitarist Söig Siberil, and on the standout track “É’nig Bihan Ér C’hoed” these string players are joined by upright bassist Xavier Lugué. The video, “Kerden an Awel” (strings and winds), beautifully expresses all of the qualities that make this group and this recording so powerful:

This is a great recording. In a musical milieu frequently crowded with derivative work this is a mature, unique and personal vision singularly expressed and recorded with great skill and perhaps even more importantly, great heart. This reviewer can’t wait to hear what these gentlemen do next.

- Fañch

Kafe Koefet, Lak Un’ All, 2013

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

Penn Gollo, Skeud An Amzer, 2002

11/25/2012

Penn Gollo/Skeud an Amzer/Coop Breizh/2002

Personnel:

Gérard COSQUER: Basse fretless

Julien DREO: Accordéon diatonique

Jean Claude PETIT: Hautbois

Claude ZIEGLER: Guitare acoustique

Invités:

Jean-Marc ROTH: Batterie

Odile Ribeyre: Violon

A brand-new review of a recording that is a decade old? The discerning reader may well wonder why this is the case, but the answer is simple. Skeud An Amzer (Season of Shadows, The Shadow Season) is one of the great classics of Breton music, easily as fresh and inspiring as any new recording that will be released in the coming year.

Skeud An Amzer was the second recording from Penn Gollo, and marked a substantial change in personnel from their first, moderately successful release splamb!. The most notable arrival was the talented accordionist Julien Dreo, who would become a mainstay of the new ensemble. The most notable departure was the duo of Malo Carvou and Bernard Bizien, who have continued to perform together elsewhere to this day ( see the 2012 review of their An Amzer Gwechall ). This duo’s role was taken over by new guitarist Claude Ziegler, whose rhythmic accompaniment added a nice upper end to the bass of Gérard Cosquer. Cosquer is one of the finest bass players in the Fest Noz genre with a fat, deep bass sound and highly creative lines that are always appropriate, intriguing and satisfying. Skeud An Amzer continued to benefit from the talents of the departed Marvou, however, with a number of tracks being credited to his pen.

A unique sound emerges right from the opening notes of track number one, a 6-temps titled Les trois étangs. Les trois étangs starts with a sonic landscape that is full, muscular, rhythmically driving and harmonically rich with just accordion, bass, and guitar. This trio eventually unfolds into a quartet with the dramatic arrival of the signature ‘piston’ oboe of Jean-Claude Petit, who must be considered one of the great masters of this uniquely Breton instrument. Petit’s piston playing is less sweet than that of the better-known Youenn Le Bihan but is much more powerful, capable of playing long rapid-fire melodic passages that can propel a tune with enormous intensity.

Whereas Le Bihan and his group Skolvan have developed a sound that is tender and very jazzy, and a group such as Forzh Penaos uses aggressive rock music elements to deliver their music with tremendous impact, on Skeud An Amzer Penn Gollo subsumes both approaches into an experience that is simultaneously contemporary, innovative and unmistakably and profoundly Breton. That is quite an accomplishment, and the result is a great recording that is both tasteful, powerful, and worthy of endless repeated listening.

- Fañch

Stevan Vincendeau et Thomas Felder, Samajhima , PAKER Prod, 2012

05/07/2012

Stevan Vincendeau et Thomas Felder/Samajhima/PAKER Prod/2012

It has been 12 long years since Yann-Fañch Perroches and Fañch Landreau released the classic Daou ha Daou, a milestone recording of inspired Breton violin and accordion. I say long years because while other Breton artists have subsequently released fiddle-and-accordion recordings, unfortunately none of them have been particularly inspiring – pleasantly perfunctory at best. Daou ha Daou has remained in a class by itself, and those of us who wanted to hear more of the vibrant playing, complex, swinging arrangements and exquisitely soaring melody lines have remained hopeful that someone could fill the void left by these wonderful artists. Well, to get to the point, Samajhima is that recording, provided not by the original players but by two dynamic young musicians who more than ably fill the shoes of their predecessors.

It is no accident that violinist Thomas Felder lists Fañch Landreau as his primary musical influence on his Myspace page. The briefest listen to his sound demonstrates the connection very clearly. Felder is a very strong player who can fold his violin’s tones subtly into those of accordionist Stevan Vincendeau or break out with a lead melody line bursting with incredible power and aplomb. Vincendeau’s accordion work has a palpably nuanced, fine touch like Perroches, and his ability to rip through a fast melody line and pump out thrilling harmonic and rhythmic support is even more pronounced.

Like Perroches and Landreau, these two young musicians are so tightly locked-in rhythmically that every measure pulses with energy. Their music is inspired. Whereas a lesser player struggles to make it through a tune, and a competent one shows some individuality in their playing, these two use the tune as the springboard to leap off into seemingly effortless interaction and play of great complexity. Swapping leads, supporting each other’s parts in a constantly shifting tableau of melodic and harmonic movement, Samajhima is a dense and constantly intriguing musical discovery.

Unlike Daou ha Daou, much of Samajhima consists of original compositions and it is intended more for listening and less for dance. In a sense this is surprising since on their many uptempo pieces here, such as the introductory track Awen, the duo find a ferociously infectious groove and really drive it home. This is some of the most propulsive Breton music I have heard in some time, and they do not rely on an overblown ‘big band’ group to create this impetus, but on dynamic performance and exciting compositions.

Not only are these pieces original compositions, they are also very good. Some of the best material in the Breton genre, like that of many traditional genres, is the oldest; musical pieces that have stood the test of time while countless others have been winnowed away. These guys are writing new work that is of truly superlative quality, and in the world of Breton music that is saying a lot. I recently had the pleasure of seeing Vincendeau and Felder perform live, and was glad to hear them announce that they are working on a second recording, this one more “sauvage” and intended specifically for the dance. Since they already rock it so very hard, I am eager to hear what they come up with next. I just hope that it doesn’t take them 12 years to release it. This is a hot recording!

-Fañch

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