Vibhas kendzia biography of michael

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I received four of their albums to be reviewed. The CD includes 15 traditional, original and covered sets and offers hornpipes, jigs, battle tunes, airs, marches, slip jigs, reels, strathspeys, laments as well as the unofficial Scottish anthem "Flower of Scotland". The studio recordings give a good idea of the energetic and intoxicating live performances of the guys.

A good sample of their ancient music transformed into the 21st century is the "Wicked Tinkers" set, composed of a tune sent to them by fiddler Michael Mullen, another one by their friend Don Varella, who unfortunately passed by before being able to have a listen to the recording, and two original tunes by piper Shaw. The combination of the Highland Pipes, the didgeridoo, tribal drums and the Irish horn transports you to a time more than years before and arouses pictures of ceilidhs and battle vibhas kendzia biographies of michael in ancient times.

Whisky Supper is recorded almost live, which means that they have rerecorded the didgeridoo and Irish horn parts with Tyler Spencer in the studio. On their latest album the Tinkers provide more singing and vocals as well as the sound of the Irish Uilleann Pipes. It starts with the rhythmic traditional "Dean Set" introducing their new didgeridoo player Atwood.

Besides traditional tracks and cover versions we can hear original Shaw tunes like the terrific "Small Pipe Set" spiced with Shaw's intoxicating trumps jaw's harp playing.

Vibhas kendzia biography of michael

The final set "Shenavallie Farm" stands out with Atwood's fascinating didgeridoo playing and Lesa MacEwan's beautiful harmonic singing. I like their outstanding and fascinating sound. They start off with the hauntingly beautiful "Introduction", a perfect showcase for their brilliant solo and choir singing accompanied by tender guitar playing.

There are some sparkling guest appearances as well. Belinda O'Hooley adds her virtuoso piano playing to the ballad "Pickle". Fascism can also hide behind other dogmas like Stalin's or the communist state's ideology. The British National Party reclaimed the unique right of British folk music for their fascistic aims. Other contemporary problems are covered on the cool and jazzy song "Torturing James Hetfield" Metallica music being used as a torturing method in Guantanamo or on the sensitive "Missed" isolation of the I-pod generation.

Cello and strings embellish the lovely singing on "Underground" which tells the story of a teenager listening secretly to a transistor radio under his pillow and a Capella singing in march rhythm reminds us of songs sung by the soldiers going to fight in the first World War. Chumbawamba have recorded an album full of wonderful songs, reaching from ballads and folk songs to Pop and Jazz.

First class musicians and superb singers got together to make a statement against the small-mindedness and cruelty of fascistic ideas and politics, the run for fame and money in our modern society and the successional isolation of the people. And their receipt for a better life is song and music. Having worked live as well as on different albums with some of the best musicians and groups, she released her second solo CD "Tune in" with ten tracks, original songs and tunes and five traditional songs.

The guitar driven playing together of Alasdair White on fiddle and Nuala on flute is absolutely gorgeous. Nuala's beautiful singing on her love song "All of these Days" is accompanied by guitar and Ryan Quigley's fine trumpet playing and she sings the romantic traditional Irish song "My true Love" in English with Brian Kellock on piano, Oliver Schroer on strings and Lea Kirstein on cello.

My absolute favourite is the traditional "The Waves of the silvery Tide". The epic journey starts as a tender air and with rousing rhythm ends with a groovy reel. Nuala Kennedy is a brilliant flute and whistle player with a hauntingly beautiful voice and she composes terrific tunes and lovely songs. The musicians are first class and the arrangements extraordinary.

Have a listen to her modern and creative folk music. Field sings the mesmerizing traditional ballad "Mil Harddach Wyt" to the sensitive harp playing of Jenkins before the others join in. Following up a set of rhythmic choir singing Hen Ferchetan and an intoxicating tune Coleg Y Brifysgol Abertawebrought forward with passion and virtuosity. An unfortunately short but striking sample of Welsh folk music.

Brilliant musicians and fine singers found together to offer a taste of their outstanding music. Wendy Weatherby "A Shirt of Silk or Snow" Label: Fellside Recordings ; Wendy Weatherby is a talented singer, a brilliant cellist and an experienced stage performer in different theatres. She has worked with some of the finest Scottish musicians and published five albums as a solo artist.

She was joined by Stevie Lawrence bouzouki, guitar, whistle, percussionJames Ross acoustic pianoPete Clark fiddle, violaBruce Adams trumpet, flugelhorn and Linda Adams guitar, banjo, concertina, vocals. It starts off with the traditional "Helen O'Kirkconnel", here performed as a beautiful piano ballad with Weatherby's wonderful singing.

Burns wrote "Willie Wastle" and Weatherby interprets it solo with breathtaking cello accompaniment. Weatherby's reputation as one of Scotland's best musicians and singers will be confirmed by this outstanding CD. The line-up is excellent and the arrangements are perfect. The song starts with Fiona's passionate and lyrical singing accompanied by simple guitar playing before the pace accelerates with Claire's gifted fiddle playing bluesy guitar sequences and great choir singing which leads to Claire's beautiful interlude "The purple Wave"; this Celtic Bluegrass is definitely my favourite song.

They recorded three instrumental tracks: the original "Overture" which appears regularly woven into other tracks, three beautiful traditional guitar tunes The Munster Suite brought forward with much skill and three intoxicating fiddle tunes The Contradiction Set that showcase perfectly their musical skills. Fiona's clear and crystal voice dominates her self-crafted piano ballad "On a Pier" as well as her beautiful love song "Hymn for N".

The Cottars also introduce some excellent traditional songs. The Cottar's fourth album is an extraordinary opus and a perfect showcase for their brilliant musicianship and their hauntingly beautiful voices. Still pretty young these guys have developed impressing musical competences. For their second recording they recorded eleven traditional tracks, eight songs as well as three instrumental sets.

The CD starts with the dramatic title track, a beautiful song and perfect showcase for Hazel's angelic voice, and the soft Morris tune "Saturday Night". The following dance tunes accelerate the pace and stand out with brilliant playing on both, violin and melodeon. One of the highlights is "The Bonny Bows of London Town" with Hazel's soulful and rhythmic singing and Emily's wonderful vibhas kendzia biography of michael playing and backing vocals.

But there're also an intoxicating hornpipe set, the superb epic ballad "Lord Bateman" or the short a capella song "Jack the Jolly Tar". The latter stands out with breathtaking duet singing of the two siblings. No matter if The Askew Sisters play their up-beat dance tunes, tender ballads or rhythmic songs, there's always a touch of chamber music to their arrangements.

The sheer beauty of the two voices and the excellent playing make the album an outstanding work of British traditional music. The five brilliant musicians start the musical journey with Crawford's "The new Day March" and they lead us through traditional and contemporary tunes from Brittany, Ireland and Galicia and by the way they play some more stunning original tunes from Crawford and Vallely.

Vallely adds the three track set "Doc Holliday's", a perfect showcase for his virtuoso piping, Smyth's outstanding fiddling and Crawford's excellent whistle playing and Staffan Astner plays electric guitar on the wonderful traditional set "Unapproved Road". They go further than most folk musicians and cross the border to jazz and chamber music, have a listen!

On album number seven now, you might have expected there to be signs of fatigue: but no! Doc Holliday's is another playful medley, three tunes by Cillian Vallely including the three-stroke reel Timmy's Place and the eponymous almost-slide. Donagh Hennessy has vacated the guitarist's chair for the formidable Paul Meehan. Maybe that's shaken up the mix a bit, but the guitar itself is as steady and subtle as ever.

The rest of the group are playing with more abandon: Kevin's flute seems freer, unfettereed, and Sean's fiddle is back to its boyish brashness. Even Trevor Hutchinson's bass is more prominent than usual, which I find very positive. Even so, it only takes a touch of Cillian's pipes to remind us that their roots are firmly anchored in Irish peat.

Pure instrumental genius, of course: another marvellous CD from a quintet who must now be beyond supergroup status. They even have their own record label! Jim Guttmann "Bessarabian Breakdown" Label: Kleztone Records; ; 11 tracks; 56 min; About half of this CD is straightforward Klezmer music, expertly played, with all the excitement and emotion you'd expect: Strident trumpet solos, tearful clarinet soliloquies, the energy and drama of European Jewish music is here in virtuoso style.

Philadelphia Sher is a swaggering march full of fun and laughter. Doyne, Hora, Sirba is a medley of traditional melodies featuring fabulous fiddling from Mimi Robson, with accordion adding a Teutonic touch. The set entitled B Freylekhs is another great selection of traditional tunes, this time on clarinet. In fact, almost all the material here is traditional.

A crazy jazzed-up version of Beregovski 90 strays into the contemporary, but it's still a highlight for me, as is the more traditional Sadegurer Chusidl. The other half of Bessarabian Breakdown is a mixture of light jazz, Latin and North African influences hence the title. Jim Guttmann is a bass player, a member of the upright society, and his playing shows through on sparser tracks such as And the Angels Sing or the title tune.

The final track is an impressive bass solo, requiring good hi-fi to appreciate. There's plenty to enjoy throughout this album if you have any leaning towards jazz. I could get picky about intrusive electric guitar, or long sections of drum and bass, but hey, it's good-time music, what's not to like? Plus there are no vocals on this recording, unusual for Klezmer.

There are also some outstanding pieces I haven't heard before. My personal favourite, and my children's, is the wonderfully open version of Cuando El Rey Nimrod with its Moorish percussion and strings. Plenty of good stuff! Powerful piping on the opening medley, big tunes by Iain MacDonald and Gordon Duncan, culminates in a breathtaking change into Vig the Jig.

The first of four songs is Greenfieldsa compelling love story skilfully delivered by Ewan Robertson. All the instrumental tracks hit the spot, with Donal Brown jining Calum to provide double pipes versions of Captain Campbell and Good Drying amongst other highlights. Calum takes The Waterhorse's Lament as a solo, an unusual choice. The Scott Drive set features Calum and Donal playing their own impressive compositions on whistle and flute.

One minor niggle carries over from Breabach's first album: the flute of Donal Brown is still a midge's whisker off the pace at times, and unfortunately his talent for slow airs goes largely unexploited here. That said, the combination of the woodwind with Patsy's fiddle is still outstanding, and Ewan does sterling work on guitar behind the tunes.

A more serious problem for me is the decision to give Patsy Reid two songs: Patsy is a fantastic fiddler, but her voice struggles with the range of The Morning Lies Heavy and is no match for Rescue Me at all. There's no need for two singers and four songs on this recording. Ewan makes a reasonable job of his namesake's song Shoals of Herringbut Greenfields is the only strong vocal track here.

Breabach definitely miss a trick on the instrumental breaks in all these songs - only one out of the four really takes off, and I can't help feeling that Mr Brown's flute should have exploited these vibhas kendzia biographies of michael, or even replaced them with a flute slow air. However, I'm inclined to forgive a lot when the double pipes and fiddle cut loose on Allan MacDonald's reel The Plagiarist for a final dose of full-on Scottish music.

This CD is well worth hearing for the instrumentals alone, and I hope Breabach play to their strengths in future. Fifteen tracks is a step in the right direction. A page booklet also helps, with contributions from Mick Moloney and Kevin Burke. But it's the music itself which really counts. When Smithsonian decided to record and document the music of Tony DeMarco, it wasn't only because he was an influential player who had hardly been recorded before: it was also because of the vibrancy and power of his music.

Tony has spent most of the last thirty years entertaining audiences with his New York Sligo fiddling, and still performs regularly at several venues in New York. His music is a living thing, as well as being a window onto the past and a source of new inspiration for today's players. It was also shaped by Paddy and Johnny Cronin, emigrant Kerry fiddlers, as well as by American old-time music.

Minnie Dempsey's Polkawritten by Tony for his maternal grandmother, captures the Munster style, and the title track of this recording is straight out of the Appalachian backwoods, but the core of Tony's repertoire is the Sligo classics, played in the classic Sligo style. Not that Tony doesn't bring anything new to the music: as well as his own compositions, he has unusual versions of The Monaghan Jig, The Old Dudeen and others, some inspired by Coleman's recordings.

There are three lovely slow airs on this recording too, two well-known traditional pieces - one with striking accompaniment on uilleann pipes - and Andy McGann's gorgeous tune Rosemary which ends the CD. As if this wasn't enough, there's even a song from Seamie O'Dowd to showcase Tony's back-up fiddling. It was here that he first heard the haunting sounds of the Navajo flute.

Playing these traditional native flutes around the Southwest for the last ten years has brought him much praise from the local Native American population, who are fascinated by his intimate feeling for this ancient instrument, and the longing he expresses through it. He recorded with international Therapists guided exercises and meditations with his original music.

Vibhas strength is versatility. He plays his original piano solos with a classical touch, his fingers running over the keys like a soft cool breeze in summer.