Celtic

Chris Caswell: Harp Builder, Multi-Instrumentalist and Music Teacher.

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This is the right way to play the Celtic harp….

Occasionally, we are blessed with someone who has an eye for beauty and a  hand for musical expression. Chris Caswell embodies the nature of a true bard. Apart from being a versatile musician (playing flute, penny-whistle, harp, bodhran, and bagpipes), he is also the builder of Caswell harps. He started making harps in 1972 while also serving as a session player for other bands. His designs are unique and breathtaking- like his own music. He is also a music teacher around the San Francisco Bay area.

I got the time to sit down and really listen to his tunes this evening. He gives multiple expressions to the harp in a way that it sounds like different instruments. At times it reaches sublime spirituality especially when he does those arpeggios. There is something ‘quiet’ about his music that speaks to you. One of my favorites is The Wild Geese taken from his 2001 album Holy Wood. The relaxing beauty of his tunes makes you sit back and relax. He has unique harp interpretations of bagpipe tunes like in the case of Catriona’s Lament (piobaireachd). There is no arguing. The harp makes a unique sound that could never be achieved by other instruments.

Chris continues as a musical asset through building harps, playing tunes and handing them down to generations upon generations of Clarsach musicians telling you: this is the beautiful way to play the Celtic harp.

References:

http://caswellharps.com/

http://chriscaswell.net/

http://www.facebook.com/ChrisCaswellHarp

http://www.myspace.com/chriscaswellharp

Artist bio:

I began making harps in 1972, first with Jay Witcher, then by 1977 in my own shop with Terry, my wife for 20 years (who was working at Witcher’s before I got there!). Over those years, my sense of calling has become only richer and clearer. In fact, the last few years have resulted in more new and possibly significant ideas than ever.

I always say I never make a harp I wouldn’t play myself. In fact, I tend to design new models to fulfill what my inner ear says is possible. This goes hand-in-hand with my own growth and experimentation as a player. Here, as best I can, is how I describe this calling:

Tradition

to make harps designed from the heart, and in the lineage of the ancient Celtic harps

Innovation

to continue to evolve the harp for a new generation of players, and for the future of the instrument itself

Excellence

to combine fine craftsmanship with a passion for its sound and esthetics, bringing each design into the realm of art

My aim during the making of every harp–from the least expensive to the most–is to connect with life directly, and experience a taste of my existence. My sense is that this translates into something in the instrument itself.

My goal isn’t to make lots of harps (though I have and, God willing, will) but to make harps that respond to their players’ desires, becoming a vehicle for the magic of music in each of us.

It’s a great blessing in my life that I continue to have an opportunity to follow this passion, and that this passion is as bright as ever. I invite you to be part of it by following your own desire. If you have a harp you love, wonderful. If you would like another to fulfill something you want to hear, contact me.

If you’re brand new to the harp, I will do what ever I can to put the right instrument in your hands, and support you as you blossom. Remember–Yes You Can!

“Yes You Can” is my way of saying :Don’t put off that which you know in your heart to be right for you! We all can find reasons not to do what we know will make our lives richer.

Life is precious and we must support that which connects us to the deep part of ourselves. If playing the harp helps you do that, then I am here to help you.

All best wishes,

Chris Caswell 

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Updated: I am posting the last exchange I had with Chris after this article was released. This was around June of 2012. You can tell he was a man of humor and great spirits. You will be missed Chris.

Hi Baxter,

Thank you so much for the kind review!

You might not have seen a recent FB posting of mine that you (or rather, the review) might benefit from. I’ll copy it to you here:

“Finally, I can go public with a bit of news I’ve been sitting on for about nine months!

I was contacted back then by an editor for the BBC who had found my recording of pibroch (piobaireach) on the metal-strung harp and intended to use it in an upcoming documentary. It looks like they’re ending up utilizing three of the pieces off my Holy Wood CD – Catherine’s Lament (the pibroch), the McLeod’s Big Tune, and Rowing from Islay to Uist.

Here’s the email I got this morning:

‘Hi Chris,

just a quick heads up to say that the Cairngorms show is finished!

It’s now called “Cairngorms – A Year in the Wild” it’s part of a three part series. Our date for transmission is as yet unconfirmed but it looks like a Sunday in July for the UK.

I can tell you your music has been used to illustrate some lovely material round the River Dee, and a very special piece contemplating ancient pines that our poet/nature writer Jim Crumley calls Wolf Trees…

I am still intending to send you a copy of the material but our production manager is reluctant to allow anything out until it has been broadcast. Hopefully this is enough to be going on with for you in terms of publicity efforts.

Thanks again for allowing the use of your music!

all the best,
Stuart’ ”

Also, I’m a little confused by the last sentence. It seems to make me sound like I’m telling people the “right” way to play the harp. That’s not something I’m comfortable with.

Regardless, thanks again. Best wishes for your blog.

All the best,

Chris

Hi Chris ,I know what you mean now. I altered a word in the last sentence. I hope it makes you comfortable now

12:58
Chris Caswell: Thanks! That does feel better. Thanks again for the review.

12:58
Baxter Labatos: Hahaha all the best Chris! you are welcome.

***

A memorial service for Chris is planned for this Sunday, Feb 10 at 6:00 pm, at St Monica’s Church in San Francisco, Geary & 23rd Avenue. His friends are welcome.

http://www.facebook.com/ChrisCaswellHarp

Gwennyn: Silky Breton Music

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For Gwennyn, the adventure began in 2000 when she took her first steps in music with Alan Stivell on his album “Back to Breizh“, then got invited to festivals of Old plows Carhaix and Fallen of the night in Rennes .-Artist bio.

Somewhere in Brittany, a very stylish Celtic singer Gwennyn continues to hone her artistry. There is this balance between ambient and folk rock style. The   maritime and urban appeal of her music makes her accessible to both the older and younger demographics. Her voice is like the whisper of seashells over sand dunes. The sloshing of her olive flavored melodies washes over like the frothy tides against tired feet. Something I need after a long day.

After five songs and several videos she won me over. It’s like nothing  could ever go wrong  when I listen to her songs. They are filled with sweetness and radiance. To top it off, her charismatic personality makes her a sorceress that drives her audience to aural frenzy.

The new album is called Kan An Tevenn

In a pop rock style Celtic Gwennyn takes us on an imaginary journey to the peoples of the dunes … Buoyed by the artistic direction of Patrice Marzin, this album offers a sublime setting for voice and clear air Gwennyn, where new music, beautiful melodies and contributions of famous French-speaking authors like Gerard Manset, are heavily loaded.It rocks!
With:
Patrice Marzin: guitars (HF Thiéfaine, Calvin Russell, Gerard Manset)
Kevin Camus: uilleann pipes (piper of N. Le Roy)
Jean-Luc Aime: Programming (Elisa Vellia, Stabat Stable)
Patrick Boileau battery (G. Servat)

Sources:

http://www.gwennyn.com

Facebook: https://www.facebook.com/GwennynKanAnTevenn

Youtube: http://www.youtube.com/user/senivideo/videos

Myspace music: http://www.myspace.com/gwennyn

The Shimmer of Sounds

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Jazzy and electric

Jazzy and electric

The first few chords of Coburg St Nights from their second album  reveal the adventurous spirit of Buille. Formed in 2004 by Armagh born brothers Niall and Caoimhín Vallely along with Paul Meehan and Brian Morrissey, Buille became a fresh force in the Irish trad scene. Their music has a universal appeal. The production almost makes you think  of reflections on a clear pond. The instruments shimmer with transparency and gossamer smoothness. Everyone in this band is in top form. Guitars, fiddles, and percussion parts sound fresh as if every bit of them have been polished to make sure only the smooth silky finished bodies of sounds get to the listeners.

The debut album was released in 2005 while the second was in 2009. I don’t have news for the new album yet. It would be great to hear about new music from these wonderful musicians!

http://www.myspace.com/buille

http://www.vallelymusic.com/buille.htm

http://www.niallvallely.com

 

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Spotlight Instrument: Hurdy-Gurdy.

The hurdy-gurdy made waves in the mainstream top 40 in 1997. Musician Nigel Eaton performed this instrument in the video of The Mummer’s Dance by Canadian superstar Loreena McKennitt. MTV made it one of their most played music videos at that time. I  think a lot of people started noticing this instrument after. Resources were not available until recently. It sounds like a bagpipe, but has the mellifluous quality of the violin. These days you get to hear this  in the Celtic metal band like Eluveitie . In this video, Alison Gowan of Canadian band The Swamp Ward Orchestra talks about her own hurdy-gurdy and folk festivals. I have to say this. They sound amazing!

http://www.myspace.com/theswampwardorchestra

Christian Hedwitschak and The Evolution of The Bodhrán (Interview)

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Christian’s drums have added a new glamour to bodhran making . The beautiful veneers  on his shells, the elegant fittings, and the high quality finishes make his drums a must-have item. He is one of the big innovators and is always seeking how to improve the bodhran into an ultra modern drum. He uses the latest materials in shell design to keep ahead of other makers. His ideas have had great influence on the bodhran as we now know it….an instrument equal in prestige to any other musical instrument.
– Seamus O´Kane

From a “percussive instrument” to a “tonal-like instrument” the heartbeat of Irish music has come a long way.

http://www.bodhranmaker.de/

I know Christian Hedwitschak through his bodhran designs for Canadian award-winning percussionist Jacob McCauley. These are huge instruments. They are stunning in their unique designs. They also make deep tonal sounds. Any bodhran player will go gaga over the look and feel of the Hedwitschak bodhrans.

Christian has been a master cabinet maker before venturing into making bodhrans. Now his own line is known all over the world. His Philosophy states: “Being a master cabinet maker and also a bodhrán player, my aim is to build high quality instruments with several special features.

As an instrument manufacturer three things are important to me: the quality in the choice of materials and the construction of the instrument, the responsibility I have towards the environment and an individual service approach.”

He is celebrating his 10th anniversary in the business after making over 4,000 of them.

Why is the Hedwitschak bodhráns so different from the rest in the market?

I’d say I dig deeper, and go the “German” way in analyzing each part of the instrument. I do sound analyses in the sound studio. I work together with some of the best bodhrán players of our time and always want to improve every single part ;o)

As for the custom orders, I really want to fulfill the customer’s wishes in a way that makes sense. Some of the “custom makers” these days just do everything that the customer is asking for. Just because it’s possible to make. I always try to combine customers’ requests with the most logical construction / material of choice etc.

The first thing  I do when a customer comes up with a new idea is to find the core of his aim, what is the important thing we need and then  we start and build the whole drum around it. This can be about a specific sound, size or just an optical thing.

I also say `no’ if I see a customer is only looking for decorative things or don’t have the experience and just wants “the best” because it is the most expensive ;o)

Yea, I think this is good to point out which  may differ to most of the other makers. I still see there are lots of mysticism involved in bodhrán making and some of the makers use this as a part of their marketing strategy ;o) I’d say it’s all about the Physics, the Science, the experience and the craftsmanship which comprise a lot and maybe just 1 % mysticism ;o)))

Let us talk about the requests you get for customized bodhrans. This must be challenging in terms of design and time constraints?

Yes. For example the deep drum for Jacob McCauley ;o)

But the most challenging is to create a signature line bodhrán. Because it isn’t just about creating a drum which is fitting 100% for the customers, it also means that this drum is exactly in the same quality that has to be reproduced again and again. So when I am working on a signature line drum- which can be really a work for a couple of years with all the testing and experience until it can be launched- I have to keep in mind right from the start that I have to find techniques to copy exactly this quality again and again for over a period of few years.

So this also contains the means of finding the materials and keeping the suppliers consistent in the quality of materials and the ability to deliver the right measurements.

For example it was a huge challenge to get enough Lambeg skins for the RolfWagelsEdition bodhran.

Do you think the market for Celtic music instruments is more lucrative now compared to 5 years ago?

Well I couldn’t complain about the demand for my drums over the past 10 years to be honest. But I think it’s a different market and a different thing to what you might mean now. But what I see now is that big companies like REMO, Meinl, Waltons are entering the professional Bodhrán market now as well (not just tourist stuff). And this is a new development in the past few years. The bodhrán is right in the middle of the change from a special instrument to a world instrument. Also the amount of bodhrán players has increased unbelievably. So yes, in this case I would say the Celtic music market is more lucrative than say 10 or even 5 years ago.

Do you think, the style of playing has evolved as well to accommodate the new shapes and sizes? Before, there was one design. Now there are many designs.

 

Yes, definitely. I’d say the general development went from a “percussive instrument” to a “tonal-like instrument”. It means the drums made these days are (in general, of course) more civilized and more musical, more tonal than years ago. Bodhrán players are now listening to tune keys and key changes.

What is the most effective way of marketing your bodhrans? How do you go a step ahead of the game?

Recommendations from players!

 

 

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Chat with Iolo Whelan of Jamie Smith’s MABON

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Jamie Smith’s MABON:  Concerts, changes and the new album.

I posted my first article about Jamie Smith’s MABON in May 5,  2010. Back then the band were known as Mabon. They  appeared in  posts as it is hard not to notice them. Everyone  was either tweeting about them or just posting status updates with youtube videos of the band.

The music is a mix of all the influences from the seven Celtic nations. That is why apart from being a Welsh band , they officially label themselves as playing  original, Interceltic, world music. To quote from the band: ” it draws inspiration directly from the traditional folk music of the Celtic countries. This is not Welsh music, nor Scottish or Irish; this is Interceltic music, a true exploration of forms and styles found in Celtic music and their forging into something bold and new.”

It is interesting to observe how this band continue to grow in their sound. After three albums(one is  alive concert)  they are working on the latest album. It is an honor to catch up with Iolo Whelan the drummer and official spokes person for the band to gather thoughts that very few know about yet. I am glad to know one thing and that is(sound of trumpets)……the name of the new album!

Band members

Jamie Smith – Accordion, Oliver Wilson-Dickson – Fiddle, Adam Rhodes – Bouzouki, Matt Downer – Electric & Upright Basses, Iolo Whelan – Drums and Percussion: Calum Stewart (special guest) – Flute & Pipes

Iolo interview answers for The Celtic Music Fan, May 2012.

 

Website: www.jamiesmithsmabon.com   FB: www.facebook.com/jsmabon

 

What’s the best part about touring with the band?

We are very fortunate in this band that we get to travel: as well as touring in the UK, which I love, we’ve also traveled in Europe, Canada, Australia and Mexico.  When we travel, we meet so many wonderful people, and see so many amazing things.  I always feel when you visit another country as a working musician, you see a very different picture than if you were a tourist.

As a brilliant example, I remember the first time we went to Poland: we were in the country for less than 24 hours, but by the time we left, I felt as though I had had an amazing insight into Polish life, Polish culture, Polish people’s lives, which will stay with me for ever.  It’s the same everywhere we go.

And apart from the travel of course, there are two obvious but very important things which I love about working in this band – the friendship and the music!  Playing with great musicians who are also your friends makes any performance a joy.

Tell us about the new project you are working on at the moment.

 

For us, this year is all about our new album, Windblown.  We were preparing  new material in the winter, and we’re recording it over spring and summer ready for an album release tour in the autumn.  Our last album was recorded live, so it’s a while since we were in the studio, and it’s interesting to see how things have changed.

The biggest change is the inclusion of songs in our repertoire now as well as the established instrumental aspect.  I was interested to see how the two things would sit side by side on the new album: and I think because we treat our songs the same way we treat our instrumental material, they form one unified collection very well.

We’re very excited about the way it sounds so far and can’t wait to get it out there for our friends and fans!

Has there been a change in the traditional Welsh music scene recently and what are they?

 

I think if there is a change in the traditional music scene in Wales today, it is a new confidence amongst musicians and bands.  I feel that more bands are happy to do their own thing and chart their own course.

Some are returning to the roots of the music and further exploring that material at its oldest sources; some are still mixing traditional material with rock and pop influences; others are exploring new realms of fusion with a broader palette of genres.  Our approach is to work without a specific niche or brief, and to make music as we fancy, taking in different influences from all the great music we hear, and seeking whatever sound we enjoy in our own original music.

Maybe that confidence in the Welsh folk scene is reflected in the appearance of more Welsh roots bands on the world music stage: Jamie Smith’s MABON, 9Bach, Calan, Burum, Catrin Finch and others are appearing more often on international stages now.  Indeed, I think some of these bands receive more attention on roots and world music platforms internationally than they do in Wales – maybe with time that will change too!

How do you define the music of Jamie Smith’s MABON and what are the things we will be expecting from the band this year in terms of concerts and collaborations, if there are any?

 

We describe our music as original, Interceltic, world music.  Original because, even though we work in a roots field and with trad music influences, our music is mostly composed by our accordionist and lead vocalist Jamie Smith; Interceltic because our primary influences are the cultures of all the Celtic nations; and world music because we do not feel we need to restrict ourselves to that field, and because our brand of original roots music sits so well on a world music stage.

Our main focus for this year is our new album, as I mentioned, and while that keeps us looking inward for a while, we will also be featuring several new and established collaborators on the recording.  Old friends Calum Stewart and Will Lang will contribute on wooden flute and on bodhran respectively, but our friend and recent collaborator Tom Callister will be guesting on the album too, as well as some other very special musicians yet to be revealed.

We’re hoping, after some festival appearances this summer and our album launch tour in the autumn, to be taking plenty of bookings for 2013’s festival season.  Hit our ‘Like’ button on Facebook or bookmark the concerts page of our website, and you can you can keep an eye out for a gig or a festival near you this year, next year and beyond!

You are the skins man and what can you tell us about the drums that we don’t know yet?

 

I often say that mine is the best seat in the house for any concert, but a Jamie Smith’s MABON concert in particular provides really interesting challenges.  For me, I feel my task is to support the melodies and the songs without getting in the way.  The sound of the accordion, fiddle and bouzouki is so full that it can be easy for the bass and drums to distract from that fullness, without adding anything special in its place.

So I tread a fine line between lifting the music and spoiling it, and I enjoy having to make those decisions from one moment to the next: I hope I get it right enough of the time!  There are many challenging roles out there for a drummer, but I’ve been doing this gig for twelve years now, and it’s still constantly stimulating, and fresh and somehow different every time.

One of our most faithful long-term fans told me last year that he can listen to us play a piece of music which he’s heard countless times before, but will hear something new or different in it each time he sees us perform – that gives me great inspiration for every concert we play.

You can buy albums of the band here: http://www.jamiesmithsmabon.com/shop/

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Today in the Celtic world….

New album from an American harpist!

Congratulations to harpist friend Scott Hoye for releasing the album called Black Rose today! Listen and buy the album here: http://www.cdbaby.com/cd/scotthoye