Sure I have been away from the computer most of the time but not on my music player;) These are the list of artists I would suggest you listen to if you are looking for authentic Celtic stuff:
1. Connie Dover-The Border of Heaven
The “voice so pure, so captivating, that it tells you: this is how to sing a song” artist released this wonderful album in 2001. My choice picks are: I Am Going to the West, Brother Green , My Dearest Dear and The Water is Wide. Visit her official homepage.
2. Cecile Corbel-Song Book vol. 2
If you haven’t picked up Cecile Corbel’s latest recording yet, then I recommend you give her a listen. This Breton artist has already established herself as one of the formidable forces in the Celtic arena. Visit the official website.
3. Jenny Mulvey-Suiri
Beautiful singing, eclectic approach to traditional material-these are what you can expect from this Irish singer. You can listen here.
4. Dom Duff-E Unan
This 2008 release by this Breton recording artist is a good introduction to his earlier releases. If you like your Celtic music invading the festive barracks of the Gypsy Kings and moving a few degrees into the realm of Sting then Dom Duff is for you. More sound samples here.
5. Sue Aston-Sacred Landscapes
This pro violinist from Cornwall has all the chops to charm her way into the hearts of her listeners. If you like your music with a mellow waltz of Secret Garden and the mysticism of Cornwall then ms Aston will light your way. Samples can be heard here.
Hello Celtic music lovers. We have a featured blogger today by the name of Christi Boersma . According to her profile bio: “ I have gardens, pups (2) and am married. I’m an Episcopalian and active in my church; a moderate politically; proud to be from Michigan; an ex-teacher (English); a mom to 3 grown sons; Grandmum to 4 grandkids from the age of 3 to 14 years; and I also love, totally love British mysteries “.
Christi and I met through our blogger community Blogcatalog and since then we love talking about everything Irish. Her two articles are composed of pictures and observations about the recent Michigan Irish Festival attended by a lot of internationally recognized musicians such as Natalie McMaster , Solas and The Leahy Family .
Jenne Lennon ( Pronounced JEHN) is our guest for today from the United States. I discovered her music around two years ago through MySpace. There is something about her voice that’s captivating and beautiful. Of course, upon realizing that she is also a talented instrumentalist and song writer, I placed her on my map. It took two years- and eventually this blog -to get me in touched with her.
Her full-bodied vocals and operatic range has endeared her to critics and earn her countless followers. It looks like many things are looking up for this artist after years of hard work and dedication to her craft. I personally found her responses interesting!
Jenne, before we start I want to thank you for taking time to answer these questions. It is a rare opportunity to get in touch with someone of your caliber, being a vocalist of high order.
Critics call you as the “Janis Joplin” of Celtic music due to your passionate live performances and the unusual strength and depth of your voice. How do you react to this?
I find it amusing. After all Janis was never known for her vocal quality, but rather for her stage performances. But it says to me that critics recognize and edge and unusual quality both my voice and performances. I am grateful that I can convey something different and unique within Celtic music and to be recognized for it.
You are from Chicago right? What influenced you to take the path of Celtic music ?
-Yes, born and raised. My father’s family is Irish by origin. The Lennons come from County Mayo. Celtic music was always played in our house. Everything from traditional to contemporary. Chicago also has one of the largest concentrations of Irish diaspora around the world. The city itself is run by Irish families, so throw a stick and you’ll hit an Irish cultural center, a pub, a festival, an art gallery, etc. We also have the grandest St. Patrick’s day celebration in the world. We dye our river green every year! lol. The rest of the Celtic nations are very well represented in Chicago. Especially the Scottish. So, Celtic music was everywhere. In my home and everywhere I went. I couldn’t avoid it.
You have been singing since three. Who inspired you musically as a child?
Well, my parents for starters. My mother was an amateur opera singer and my father was an enthusiast of ancient choral music. Some of my favorite artists as a child were Moya Brennan, Clannad, Lisa Gerrard, Enya, Anuna, Eine Meneghan, Sinead O’Connor, Niamh Parsons, Afro-Celt SoundSystem, Ladysmith Black Mambazo, Simon and Garfunkel, Sting, Peter Gabriel, and U2.
Jenne with Baal Tinne at Metro in Chicago for Concern and Bono’s One
Do you have other siblings who are into music?
I have an identical twin sister Danielle who is an up-and coming actress/director in Los Angeles. She has a similar voice and still keeps up training, but has chosen another artistic path. Our older brother Sean works in computers, but he is fanatical about his musical tastes just like we all are. lol. Completely different from mine entirely.
You have two tracks up in your MySpace . Bonny Portmore and Open my Eyes. Can you give us the background behind these songs?
-This particular arrangement of “Bonny” was written specifically for the Going Back Home Vol. II series through Quickstar Productions. I was asked to record a traditional track and I could think of no better one. I first learned the song working with the Irish academy of music in Chicago and Noel Rice. The haunting air never left my brain and I just had to have a go at it. I arranged the song in an unusual setting, scoring the instrumental intros and breaks in 4/4 meter, while keeping the air in 3/4. I took this arrangement to my producer and my band and they worked their magic. Eric Remschneider, who has worked with the Smashing Pumpkins and the Plain White Tees, graciously added his distinct cello parts and it all came together.
“Open My Eyes” is an original song that I wrote a couple of years ago. I am a Native American rights activist and a poverty advocate, and I was particularly moved by an experience that I had had working in those fields, and poured the emotionality of the experience into the song. I sent a demo track of the song to my dear friend Sarah Class in Bristol, U.K. She liked the song so much, that she scored the orchestra parts and recorded them on top of the vocal line. We were both very happy with the outcome.
What’s the recording process when making each song?
-I typically start by presenting a piece that is fully complete and arranged to my producer, Chris Wilson and band and we rehearse for about a week or two and bring it to the studio. I like to devote a day to laying down all parts of a new track, and then a second day spent mixing with Chris and the engineer. It’s all rather organized and straight-forward. We’re recording the new single tomorrow actually, and we’ll be working with the sound engineer from Styx. It should be good fun.
Bloomington Herald calls your style as “deliciously eccentric”. What’s your reaction to this statement?
-I am delighted by this statement. Anyone who spends five minutes with me learns that I am a bit eccentric in my taste of music, clothes,food, performances, etc. This is another statement in the press that comments positively on my uniqueness and I am glad that they get it and it is well-received.
Is this a conscious or unconscious effort for you to be ‘different’ in terms of your vocal style.
-As far as vocal style, initially it wasn’t intentional at all. It was after years of feedback (both negative and positive) from concerts and competitions that I realized my voice was truly different. I hadn’t noticed before then. I had just written music that satisfied my ear, my taste as a writer, and suited my voice.When I sit down to write a song, I won’t write it so that it will challenge my voice, it’s in the end of the process when a song is nearly complete, that I go back to certain sections and will add trills, lilts, or other distinct techniques that fit stylistically and artistically with what I originally had in mind; and can also reflect facets of Celtic/World style.
You have an amazing range and a beautiful timbre. Any advice to aspiring singers on the genre?
-Thank you.Yes, practice, practice, practice!!!!! Experiment with your voice and technique even in moments when you are most satisfied with your talents. Study works of the many artists in the field who have come before you. They are your greatest inspiration and your greatest resource.
Your resume says that in 2006, you are the only American singer out of 5,000 Celtic artists worldwide to be selected to perform in the Interceltique Festival in Lorient. That’s quite a feat!
-Indeed, it was. I can hardly believe it myself sometimes. I was virtually unknown as a Celtic singer at that time, and to be added to the line-up two weeks before the start of the festival no less-was quite an honor and a defining moment in my career. I look back on that time as one of the best times of my life.
What’s the best thing about doing what you do now?
-The people I have the fortune to meet and work with. I’ve met and worked with many of the artists that have inspired me and am in talks to collaborate with others in the future. And it’s not just the Celtic artists themselves, it’s the back-up musicians I work with, the producers, and the lovely fans who are not shy about sharing their thoughts about my music.
What’s the downside?
-The only downside I can think of right now is the internal pressures I place upon myself sometimes. To be recognized for being unique and sort of groundbreaking does not come without its pressures. In weak moments I tend to push myself a little too hard musically, physically. But, I’m learning balance and to focus on being creative, not different.
Jenne, today you are still recognized as the lucky student who got to jam along with Sting on an episode of MTV’s Stand In (April,2004). You played Native American flute to Every Breathe You Take. The episode continues to re-air on MTV late at night.( For footage of the episode, check out MTVU.com or locate the clip at youtube.com.) How did it feel at that time?
-I was shocked. I didn’t really have the time to digest what was happening. We were all just so excited (ironically, we were all Sting fans). I remember being giddy with excitement, but when he pointed to me and said ‘flute solo”, I think my exact thought at the time was “oh, s**t. ” lol.
Were you able to talk to Sting after ?
-Unfortunately, no. Would have loved to. We all would have. But, we were able to ask loads of questions that weren’t aired. He had a concert and took off immediately.
Sting at UIC during MTV’s “Stand In”
You have been to different parts of the world and performed with great musicians. What did you learn from all these?
-That to be a musician is truly a gift. To have the courage and the stamina to pursue a lifestyle that is off-the-beaten path, to satisfy a personal need to create and to be fulfilled is a gift.
When you are up there singing, surrounded by these wonderful musicians and watched by many; how does it feel?
-Strangely, intimate. Though there are many in the room, it feels like only a few. It’s one of the few moments I have to express myself purely, and openly, without question or pause. To be truly Jenne, uninhibited for a little bit, is a freeing experience. I also feel an immense sense of gratitude to be onstage with such wonderful musicians and to be appreciated by lovely guests. There is nothing better than that.
What are your current projects? Upcoming ones?
Well, we are recording the new single for “Celtic Dreams” through Quickstar productions. I am in production for my debut album, that we will start recording in the New Year. I’ve launched and indie record label, Glencoe records, and am working on many concerts and festivals for 2010.
Is there an official website that fans can check updates?
As always it is not the destination that counts but the journey. It is impossible to get into the center of ourselves when we have inhibitions, hang ups and the tendency for stereotyping. Music speaks in any language, be it Irish, Breton, Welsh, English or Latin. It is our emotional responses to it that really matters and I think that is the core of music-or certain kinds of music. There are those who create songs whose language becomes the secondary importance. There are even those who create vocal music that transcends language …when language becomes beautiful in itself not because of what it is trying to convey.
We have a guest this weekend. His name is Dom Duff. Since we are in our Breton Odyssey, why not get someone here who is both musician and native speaker from that region? His music is vibrant, percussive and a totally different experience. If you love World Music in general then you will like what Dom Duff is doing. You can read his biography on the main site as well as check his releases. So far he has three albums out ! (Photos coutesy of domduff.com)
Dom Duff Music Sampler: Click on the titles to be directed to vox.com
I initially told him that I lost my initial questionnaire and that I had to do it all over again over coffee.
-Welcome to our interview today Dom. How are you doing?
I am fine, having a cup of coffee too, and working hard, after buzzy summer, strumming my fingers back on the guitar.
-Every year, Festival Interceltique de Lorient draws a ,of people as well as musicians from all over the world. Tell us about this phenomenon that has become an international phenomenon.
Yes, it’s a great event here in Brittany, a real amazing spot to share music with an international audience, and to hook up with musicians from all over the world.
That’s started 39 years ago, and the aim as always been keeping Celtic links as strong as possible.
-This event has become a sort of United Celtic colors of the world. Countries from Nova Scotia Canada up to the British Isle have their own special festivals. What’s the importance of keeping these events alive ?
Many efforts were done in the past years to expose every Celtic culture, bringing in artists from different countries and giving them exposure to the audience here, which is varied and wide. It comes from French families discovering Brittany during holidays to an all music addicts coming from Italy, Germany and America. The mix in the audiences is really interesting. Despite the music styles-which swings from drinking bands playing drinking songs at the fringe, to real international headers playing in another venue. It is the main place to put under the spots our cultures.
-Bretagne or Brittany is part of France, and yet uniquely Celtic. What do you think makes Brittany proud in keeping that tradition alive?
Mmmmm… You have a lot of time to spent?
Brittany is an old nation coming from pre-roman Celtic natives. Then, Brithonic migrations started about 5th century. Mostly Brithonics (Welsh, Cornish) and Gaels also (Irish) came over here. It was a kind of Celtic clans coming back in another Celtic land, so the Roman influence was out of the game. And all those ways of life remained strong, powerful (language, legends …).
And this way of life is still strong. By now there’s about 300 000 Breton speakers; they were about one million in the early twentieth century. The reasons are: France has done everything to eliminate the language, and also the decline increased with the two wars.
But at the same time, I am not a kind of strange Breton speaker. The language was strong at home, and a lot of people which are not fluent inBreton, keep theimaginary structure of the language when they speak French. It happens, I think, in every country where both languages are spoken.
-You are a musician composing your own original Breton music .How is your material different from other artists going through the traditional road and how is it similar as well ?
The main difference for me,is that my stuff could be sang in every language. You know, I compose with my guitars, adding chords and licks as I want. Then, the language comes in. I like to use Breton syllabs beating the music, and that’s the way I do.
In the meantime, I think the rhythm of the words and accentuations remind the traditional material, of course. But, to be honest, my north Breton accent is stronger than the other one maybe.
-Tell us about your former band Diwall. How is this music you are creating now different from the band?
Diwall was a band for dancing music, playing Fest-Noz (Breton ceilis). We played mostly tunes, traditional ones, or our own tunes written on traditional scheme. I used to sing three or four songs only, it was a kind of frustration for me.
-I read that your music has been classified as “power folk”. Thoughts?
Yes, I’ve heard about. Someone in UK reviewed a gig using “power folk”. I think, power was about my guitar strumming, and my broken strings? I like that : playing powerful acoustic guitar , using two or three open tunings; but I need at the same time two or three instruments around me.
-How did you get into music and chose to lead this path? You could have gone into straight ahead rock and roll but why this style?
I’ve started at 15, playing folk and rock stuff in the mid 70′. But, quickly I joined friends of mine starting a band playing Breton dances, and the line up was bass, drums, etc. They asked me for playing guitar. It was a great occasion for me to perform, and I teamed up with this village band.
I’ve always been a real rock ‘n roll fan, but in my area they were no real rock ‘n roll band. North Brittany is not Manchester or Glasgow, ha ha !
The only good thing we’ve been able to do at this period, was organizing festivals in Brittany with folk and rock bands from abroad.
-I noticed that there is this distinctive vocal style in Brittany. Can you elaborate how it is different from say the style of singing in Ireland, Scotland or other regions?
The reasons are the language I think, an also the accent. The Breton accent is stronger than Irish, because Breton accent is closer to French accent. And at the same time, Irish pronunciation is closer to English, perhaps ? Breton words use more P, K, T, sounds than the Irish. Irish is more sweet, to my ears.
Breton tunes are also high tempo sometimes: listen to the “Kan ha diskan” style, it’s a kind of rap. I am sure you could find on the web pages speaking about.
-Who are your influences upon growing up?
Influences? mmmm … difficult.
I can mention: from Led Zeppelin to old fishermen and farmers in my village.Lol.Especially charismatic artists like Kevin Coyne, Horslips, Luka Bloom, Pogues, Stivell, and an unknown band from Brittany STORLOK, crazy people! Worth a listen . Their EP was in every jukebox pub in 78. It was rock in Breton, awesome.
But I’ve always been listening rock, folk, Irish, Scottish, etc. And Breton of course…. African singers too. I love listening guitarists from Africa, they sound great. It’s hard to answer you know.
-Most of the traditional instruments in Brittany can get really loud. How loud can a bombarde get?
It’s a dog bawling, the tail stuck in the door.
-I am listening to the great Alan Stivell while I though about the questions to ask you. He also spoke fondly of you and your music.You contributed two tracks on his album which will be released on the 22 of October based on your blog. What did you enjoy about this project?
I’ve been really impressed with Alan Stivell when I was 13. I discovered my culture could be really as good as others cultures. When he spoke about me, I’ve been, to be honest, touched. I’ve just launch the second album, months before, there were good feedbacks with the media, but not real success. It was quite difficult for me to keep going on. I said to myself “kick in the ass now and straight ahead !”.
Last May he asked me to sing for his new album. It was great for me, as I respect those people who are still going on, after years . Nice.
-You are also involved with the animation Brendan and The Secret of Kells. I think it’s is a beautiful animation with an interesting story line. Tell us more about it.
No, I just add a few voices for dubbing movies in Breton. They need different voices for that, so I am aboard the dubbing boat, but I am not a real character. There’s a lot of others people around. I can be a doorman in Columbo, a drunk fellow in an American pub, etc. But, there’s a lot of fun.
Brendan and The Kells is good, because it is quite a new movie which is amazing for children and adults. Also my Irish friends Kila released the soundtrack.
-What bands/music are you listening to these days?
If you need a few names : I could mention Luka Bloom, a US band call 2 Dragons, WovenHand, African bands also (Tinariwen, …), Calexico, the Levellers, …
– You have a blog http://duffdom.blogspot.com .As a blogger myself, I really admire artists who take time to write their own thoughts for people to read. .How and why did you decide to put up a blog?
I needed to add news to the website, that is accessible for comments. I don’t need another page for that. But the blog is part of the website and it’s easy to keep connections.
You can also access lyrics & translations by clicking the label SONGS, at the top right of the blog. There’s a few translations in English, Flemish, Welsh, Irish and Icelandic.
-I know this interview has taken a lot of your time and I am really happy to get to ask you these questions. What’s your message to our bloggers and readers who love Celtic music?
Feel free to listen Breton music and to share it all around the world !
-And how to you say “ I wish you love and peace in Breton?”
That is : “Hetiñ a ran deoc’h, karantez ha peoc’h !”
-Anything you wish to add?
I am just starting to work on a 4th studio album (the last one was Live and Solo) I’ve asked my friend Dom Bott (bass) to join me. We were both in Diwall 15 years ago. Nicole Hayes, an Australian fiddler-also based in Brittany is also playing and David Seité (percussions).
Since we are at the height of our plunge into the Celtic music of Brittany, I want to share some personal discoveries. Again thanks for visiting and leaving your comments . So look around, listen to the music through the links and relax. Weekend is coming and I still have more for you.
Alan Stivell:The Best of
When you talk about Breton music then you have to talk about the great Alan Stivell. He has been making records since the early 70s. His name stands up there with the other greats in the world of Celtic revival. Those who heard Renaissance of the Celtic Harp released in 1972 can attest to its greatness and is now considered the album that opened Breton music to the world.
Here’s a sample music for you:Eliza Iza (From Renaissance of the Celtic Harp)
The Chieftains: Celtic Wedding-The Music of Brittany
I took out The Chieftains’ Celtic Wedding-The Music of Brittany out of my shelf. My perspective has changed now, after learning more about Breton music. I see the wealth in its distinctive arrangement. Nolwen Monjaret’s singing was something I found strange at first because It’s really different from the rest of Celtic women I have been listening to . Her’s as well as the rest of Breton singing style is more inflected, strong and mournful. I am sure everyone would agree that her’s is more Lisa Gerrard than say, Enya or Moya Brennan. But learning how geographical location can affect one’s style of performing, I think I really got into it, understand it and came to appreciate its uniqueness.
The album contains nine tracks that are popularly used as wedding accompaniment. Recorded at Lansdowne Studios, Dublin in 1986, Celtic Wedding became my introductory to Breton music.
For more comprehensive lists of Breton artists, you can click the links below:
Celtic Music Fan 