fiddle

Yay!It’s Gillian Boucher(interview)

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Gillian Boucher talks about her music and the unpredictable but wonderful things in life in the midst of motherhood. And oh a bit about people expecting musicians to give lessons for free.Ha!

Hi Baxter! Well… here it is!!! I’m severely jet-lagged after the journey from NZ to Turkey, but I was determined to get this to you today 🙂 I hope it’s OK!!

I discovered the music of Gillian Boucher around two years ago while I was doing my research on the Cape Breton fiddling style. She has this certain ‘walk under the sunny park on an afternoon’ kind of vibe when she plays her instrument.  I also admire her fashion sense. For a while I kept track of news about her and poof! She disappeared from the Celtic music radar. I wondered what really happened to her for a long time. While Cape Breton and the whole of Canada gave us tons and tons of beautiful music, Gillian was nowhere to be found. Until recently.

She started updating and leaving digital footprints online once again. The illusive artist has now become more and more accommodating to the public as she enthusiastically shares her travels and photographs to her friends. Her group The Celtic Umbrella Ensemble is gearing towards bigger musical shows and you will find out about it in this interview. So my dear readers, sit back and relax over a cuppa tea as we listen to Gillian’s unique voice as she shares her time with us.

How’s it going with Celtic Umbrella these days?

Well, the Celtic Umbrella Ensemble will be entering it’s third year of existence and after a few line-up changes we feel that we’ve finally found something that fits really well! Last summer in Canada we finished our touring season off with a main-stage performance at Festival Memoires et Racines in Joliette Quebece with a new line-up and the response was simply mind-blowing! We don’t do much touring during the winter season as I’m usually back in Turkey working on administration for my various projects or down touring New Zealand which I do annually. This spring, though, we’ll be heading in the studio in Canada to work on our first album which is really exciting. We’ve got a lot of great material that spans from Old Scots to Acadian folk songs and groovy instrumental rhythms. It’s going to be a fabulous project!

  You seemed to have disappeared from the radar for a while and now you are in Turkey. How’s life treating you?

After the release of Elemental and receiving some great reviews in the form of music nominations and an award, I hit some turbulence in my personal life and decided to lay low for a while. The album was also released after nearly a decade of being on the road with singer/songwriter and former partner Andrew White and so by the time I was due to push the new album, I was already exhausted and needed a break from music. After a trip to Ankara, Turkey, to perform for the Canadian Ambassador’s Canada Day celebrations in 2010, I saw an exciting opportunity to completely relocate to an interesting part of the world but still work on my various projects. It’s been a whirlwind of an adventure but I’ve  found a sweet balance that makes it all work, giving me a chance to rekindle my passion for what I do, go out on the road to perform and come home to a peaceful and quiet existence in this far-off and beautiful land. If someone would have told me 5 years ago that I would be living in Turkey some day, I wouldn’t have believed them! Yet, here I am, and I’m very settled and happy.

  You have a certain style in playing the fiddle. Where did you get all that energy, concentration and style?

Well, thanks very much for the compliment! Growing up on Cape Breton Island I was immersed in the Cape Breton style of music and dancing from a very early age. We grew up near my mother’s family, who were all of Scottish decent, and so the culture was very present in our lives. I was classically trained on piano, but not on fiddle and had a very strong Cape Breton fiddle style until my mid-teens. Perhaps my classical training on piano came through as I was very fond of complicated pieces by Neil Gow and Scott Skinner, which weren’t being played much by the younger players around.

At around the age of 15 I first heard Irish music and it was a major milestone in my life for sure. I immediately fell in love with the style of music and it also corresponded with many opportunities to work in the USA and collaborate with a lot of Irish-American players, so my style and approach started to morph at that time for sure. When I was 19 I moved to Edinburgh, Scotland, and again was greatly influenced by the tunes and players there, creating another element in my stylistic approach to traditional music. I am not and never have been a traditionalist and feel very free to build upon my experiences in life to create my own individual style.

I don’t strive to sound like anyone else which is what a lot of tradition bearers feel as responsibility. I know this because I felt this responsibility when I was younger, trying to preserve our Cape Breton culture and style of playing by mimicking older players, so I guess you could call me a bit of a rebel in that respect! Don’t get me wrong, I respect and admire the amazing players that keep our heritage alive and well. I just don’t feel like it was ever my path, which might also have something to do with my mixed-heritage background of Acadian and Metis as well as Scottish.

Aside from being a recording artist, you also teach. Which do you think gives you the most fulfillment?

I’ve been teaching for nearly as long as I’ve been performing, first starting to teach dance when I was about 12 years old. I started teaching fiddle later in my teens, but I’ve always had great enjoyment teaching both and still do. The feeling of fulfillment seeing a student progress, giving validation to ones teaching method, I don’t think can be compared to the thrill of walking off a stage with an audience in rapturous applause. I can’t compare the two at all, but deeply love both! The later being the most exciting buzz in the world! I’ve also found that in order to maintain a lifestyle as a working musician, one must have a few fingers in a few pies! Teaching is just another aspect of my work that keeps me moving forward, allowing me to continue to do what I love. My most recent teaching project is a comprehensive online teaching method entitled ‘Learn Celtic Fiddle’ which is comprised of HD video lessons and supporting documents. We (my business partner and I) currently have 4 Units up and running: Absolute Beginner, Advanced Beginner, Early Intermediate and Advanced Intermediate. Each Unit has 5 lessons. It’s a wonderful project and we have students from all over the world logged in, learning Celtic fiddle!

I read your post the other week where you ranted about people expecting musicians to give lessons for free. And this even go as far as expecting musicians to perform music for free. What can you say about this outrageous mentality?

I was recently in New Zealand and heard that local festival had decided that they were not going to pay musicians to perform, and would only offer a ticket pass and free camping. As a result, they will not have professional musicians at the festival because professional musicians don’t play gigs for free, which only disappoints the attendees who are mostly going to the festival for music. It’s shocking, really. But we can be guaranteed that the porta-loo companies will be paid, as well as any other tradesman involved in the production of the festival! Over the last ten years, as not only a professional musician but also a booking agent and show promoter in places like New Zealand, I see ticket prices staying the same, sometimes even going down, and tour expenses and cost of living rising. It’s a very challenging business to be in for sure. The light at the end of the day though is the fact that we get to do what we love and the people we do it with are some of the most magical people on earth. I think that’s what keeps us all going!

(More by visiting her website www.gillian-boucher.com) 

Videos

Check out the Celtic Colours International Festival online via:

http://www.celtic-colours.com/

http://www.facebook.com/celticcolours

http://twitter.com/Celtic_Colours

http://www.youtube.com/celticcolours

Gillian Boucher and Celtic Umbrella in concert, June 2011, Chester Nova Scotia

Gallery

The Celtic Umbrella Ensemble Live

* 2010 ECMA Nominee: Roots/Traditional Solo Recording of the Year

 

* 2009 NSMW Award Winner: Roots/Traditional Recording of the Year

Weekend makes way for great tunes!

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Also in this edition:Damien Mullane, The Tristan Legg Band, Paul Mounsey and Alalé.

Instagram pic of Frost at Midnight’s Happy Birthday

Album Review: Happy Birthday by Frost at Midnight.

Country: Wales

Band members:

Robert Atkins: guitar, bass, keyboards

Catherine Atkins: vocals

Catherine Handley: flute

Johnny Quick: vocals

John Tribe: harmonica

Record label: taff vale

Beautiful and uplifting, Frost at Midnight crafted an album that is determined to encourage repeated listens. Even the album artwork encourages a smile with its illustration of golden birthday cake framed in blue. The album title is Happy Birthday. Opening the cardboard case introduces me to a back cover picture of band members slicing that cake. There are references to Keats, Jacques Humbert, Jack Sinclair, Julian of Norwich and TS Eliot.

I can tell that songwriter Rob Atkins is somewhat into academic themes. This album is also traditionally influenced with classical frills. As for the vocals, Catherine Atkins and Johnny Quick both deliver superb singing styles. Catherine has pure soprano voice which is comparable to Judy Collins and fellow Welsh singer Mary Hopkins. Johnny  has a faint folk roughness underneath the Broadway smooth voice.

A kind of high plucky sound is heard all over the album courtesy of Rob Atkin’s mandolin. The airy sounds of keyboards, bass and guitars almost slide into the border of indie folk and is only hold on a balance by the flute of Catherine Handley. The harmonica of John Tribe reinforces the band’s folk influence.

Happy Birthday opens with the lively A Birthday. It has a kind of 70’s vibes. The signing here reminds me a bit of Sally Oldfield and Maggie Reilly. Deep Open Chord follows with its heartfelt lyrics and pastoral melodies. Surprise by Joy opens with “Surprise by joy impatient as the wind I turn to share, I turn to share the rapture..” I am touched with the poetic elegance of this track. I love the mandolin playing in The Egg Timer. It’s one of those instrumental tracks that should be given more exposure for its delicate and atmospheric beauty.

Writ in Water has a renaissance kind of sound while All Shall Be Well reminds me of those Irish ballads performed by the Dubliners and Planxty. Love’s a Mystery is filled with magical bells which grow on you after repeated listens. Why Should I Care strikes me as something the late Sandy Denny would sing. At the same time the Jazz melodic flavor makes it a perfect lounge track.  Percy Paves the Way burrows its melody from the Scottish song Ae Fond Kiss. The voice of Catherine Atkins soars like an angel.

Tambourine is a track that introduced me to the band after hearing it online. This is definitive Welsh trad style.The tambourine sounds  trimmed down to give more emphasis on the flute of Catherine Handley. Sleep starts with an ambient keyboard style. This is the only track featuring a synthesized sound that works well! As the title suggests, it is a lullaby.  Another Birthday(reprise) closes the album as an instrumental track.

My verdict: There should be more Welsh bands like Frost at Midnight that celebrates the beauty of combining the delicate styles of various genres. It is a must have album whither you are into indie folk, Celtic or easy listening.

http://www.myspace.com/frostatmidnight

Samples:

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Damien Mullane

Damien Mullane has just released 13. The carrier single is “The Orphan”. He’s just finished a tour with Fiddle player Colin Farrell and Lunasa’s Kevin Crawford. Big thanks to Cillian Doheny of Irish trad band Moxie for recommending this music.

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The Tristan Legg band

I discovered The Tristan Legg band last July of 2011. Since then I have been following their updates. Tristan Legg is based in Nova Scotia, the Celtic music capital of Canada. Below are videos that will give you an idea about his music. Enjoy!

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 Paul Mounsey

My friend Paula who is based in Yorkshire England posted this man’s music on my facebook wall. I was captivated. There is definitely a strong Scottish identity in his music.This track is also very hypnotic. He was featured in the UK docu called Visit Scotland…

Video notes:

One picture video of Paul Mounsey track The Fields of Robert John

Album:- Nahoo Too

Year:- 1997

Track:- No10

Last FM:- www.lastfm.com/music/paulmounsey

My Space:- www.myspace.com/paulmounsey

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Alalé

My friend Sacha Talens is a punk rocker who travels around the world. He lived for a certain time in Ireland. This is a band he witnessed performing live when he was in Galway.

Video notes:

Born out of the lively music scene in Galway in the West of Ireland, Alalé was formed in 2006. The band was formed by Fergal Walsh, David Cardona, Gabriel G. Diges and Ciaran O’Donghaile. They soon released the self-produced album Wo Japen, which has since gone on to sell over 4000 copies. At the moment the band members include, Flute, Whistle and Galician Gaita player, Gabriel G. Diges; Singer and Fiddle player, Stephanie Swanton, guitarist, Esteban Moreno; and Bodhrán player, David Cardona. Alalé have played and toured extensively in festivals and venues in Ireland and throughout Europe, returning regularly to Germany, Spain and the Netherlands and recently got their first television exposure playing on BBC Northern Ireland.

Wood Soul: Interview with Scottish Wooden Flutist Calum Stewart

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Also in this edition: Lori Watson and Rule Of Three and Kernowpods

Calum Stewart and the cover art of the new album.

Between working with the London Philharmonic orchestra, recording for the next “Lord of the Rings” film, “Hobbit Movie” and completing being part of Jamie Smith’s Mabon’s Windblown, Calum Stewart took the time to talk to us about his career and how it all started.

Greetings! It is a lovely the month of October Celtic music followers. Our guest for this week is flutist Calum Stewart. He made a lot of collaboration with other bands. The new album Wooden Flute and Fiddle is out in the market! It is a collaboration with fiddler Lauren McColl and other musicians. If you don’t have a copy of the album yet, I want to tell you it is an amazing thing to have as part of your traditional music collection. Like what I mentioned in my last article about the album: This is an album that every traditional music listeners will want in his or her collection. This is due to the huge effort that the two and the rest of the session musicians placed on this album. There are slow and fast tunes. Expect variety in instruments and grand artistry that only musicians of their caliber can provide. And even if you are not really into Scottish or Irish trad music, you will still warm up to this one for its melodic and relaxing merit. Love it love it!

This interview was done in a relaxed manner. He has a tour this autumn and  you can nominate Calum as traditional Scottish instrumentalist of the year here http://www.scottishcultureonline.com/blogs/nominate-your-favourite-act-for-mg-alba-scots-trad-music-awards-2012/

All musicians started with something that they consider memorable. I helped him trace back on how it all started-with the release of his debut album Earlywood.

Can you tell us a little background as to why is  the debut album Early Wood?

“Earlywood” is my first solo album, and reflects my home tradition of the north of Scotland, with many tunes from Morayshire. There are also several compositions, which sit side by side the older repertoire, all arranged for Wooden Flute, Fiddle and Piano: my main interest has always been finding strong repertoire, interesting arrangements and powerful sounds, in acoustic settings. The title “Earlywood” refers to the inner growth circles inside trees. The “Earlywood” stage is the time when the tree grows the most… “Latewood” is the other time, and perhaps when the tree takes stock, during winter. Earlywood seemed a good title, because it was my first solo recording.

Since recording “Earlywood” and touring with my trio, I’ve had the opportunity to continue work with Lauren MacColl (Fiddle), with whom I’m releasing a new album with now (featuring Eamon Doorley of Danu, and Andy May). ( Go to www.laurenmaccoll.co.uk/shop )

I’ve also been working closely and touring with Breton guitarist Heikki Bourgault; we released our first duo album last year, with plans for a second one in 2013 (visit www.calumheikki.com for details).

Jamie Smith’s MABON has released Windblown. What can we expect from your musical contribution in this album?

I am featured as a guest on several of the tracks of their new album “Windblown”. Although I can’t play as a core member of JSM and Mánran now, because of my own project commitments, I really enjoy working with them when the occasion arises, guesting on recordings or sometimes at concerts / festivals. We are all very good friends and keep in touch about our own separate projects, and enjoy meeting when our projects cross paths, playing at the same festival!

Early promo pic of Jamie Smith’s Mabon

You are known to play hide and seek between time zones with multiple natures: you are in demand as a musician! How’s the experience of working with different artists and how this shaped your artistry?

Working and collaborating with different artists from different genres is really important, enabling one to have a more open perspective. I’ve had the opportunity to work with some really inspiring people and they’ve really shaped my approach. However I also think it’s good to concentrate and develop one’s own musicality, ones own musical journey. Whilst you may encounter many influences along the way, fundamentally you must find your own voice.

Your musical development was traditional since you are originally from the North of Scotland and brought up with the traditional music of your native Morayshire. How do people in your hometown respond to your international success?

I always really look forward to playing on home turf, and it’s great to catch up with those musicians whom I played with when I was growing up. I try and “re-charge my batteries” when I’m back in Moray, usually remembering old tunes, learning some new ones or writing some, and most importantly remembering why I enjoy playing music in the first place! I still have family in my home village, although I don’t live there anymore – so I really enjoy going back there.

I realized that although your name is synonymous with the wooden flute, you are also and expert in playing the uilleann pipes and whistle. What are the other instruments that you play?

I concentrate on the Wooden Flute although I do play Uilleann pipes too, and really enjoy the different voice this instrument has. However the Wooden Flute takes up almost all of my concentration. Although there are different qualities in the pipes and the whistle, and sometimes they are useful – the Wooden Flute is really my musical voice, so I prefer to concentrate on this. I have a very special old flute, which I use for all my musical projects – its a Rudall Carte & co, made in the 1930’s. Its made from cocus wood, and has been with me in every musical situation since I found her! I use wooden headjoints by Tobias Mancke with her. In addition I own a brilliant Wooden Flute by Peter Worrell which is based closely on my original. As I don’t like owning many flutes and changing flutes, I take my Rudall Carte & co. with me, wherever I go!

Ewen Henderson at Clickimin Centre.

What is the recording process in making an album?

Every recording I’ve been involved with has been different. Although usually after the initial concept or inspiration, there follows a period of collecting / writing / arranging, before either rehearsals or concerts and then recording. Sometimes it’s possible to play music for a long time in concerts, developing ideas before the studio, but sometimes the music takes shape in the studio – there are no rules!

 

   After a big performance, how do you chill?

Usually, there is a lot of work to be done after a performance. I always try and meet the audience personally, making contact after the concert. Often there are interviews to do, CD signings and meetings – so it can be quite busy! After all this is over, and my flute is put away… I usually hang out with my band and quench my thirst.

What are other projects that you are working on?

This summer I’ve been working with the London Philharmonic orchestra, recording for the next “Lord of the Rings” film, “Hobbit Movie”. As well as that, I’ve recorded with fiddler Lauren MacColl, joined by Eamon Doorley (Danu / Julie Fowlis), and Andy May – this is available via: http://www.laurenmaccoll.co.uk/shop .

Otherwise, I’ve been guesting on recordings such as the new JSM album, and preparing new repertoire for a 2013 release with my duo.

What can fans expect to hear from the new album now that it is out?

Quite a traditional repertoire, coupled with some new offerings: based strongly on the interplay between the wooden flute and the fiddle

You are a huge influence to young people who are trying to learn traditional instruments. What can you advice them in how to make it like you

Play music that you believe in and always be yourself.

There you have it readers. Another exciting moment with Scottish musician Calum Stewart. I am looking forward to the “ Hobbits” soundtrack knowing he is part of the music. Also get your copies of the new album and drop by his website to say Hi. He is really down to earth and has an amazing sense of humor. I enjoyed this interview with Calum and it is really fun talking to artists and getting to know how they create their music. Have a great week ahead!

Check out his website:

http://www.calum-stewart.com

Video samples:

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Featured band:Lori Watson and Rule Of Three

Genre: Acoustic / Folk

Location Scotland, UK

http://www.myspace.com/loriwatsonandruleofthree

Sweetness! Lori Watson has a voice than can melt your heart like butter. But don’t let this sweetness fool you. This amazing musician plays music with such intensity and break neck speed. Her band is gaining a wide following all over with their fusion of traditional and contemporary style.

.

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Kernowpods: War an gwyns – remix

Cornwall has her own thriving community of painters, photographers, musicians and people doing their own art. One of those who help define the Cornish cultural identity is Matthew(Matthi) Clarke. He is part of Sue and Phil Aston’s circle and they are doing a LOT of diverse things with music and visuals. This is one of the songs Matt uploaded in his podcast.

Phil Aston,Dan Aston, Sue Aston, Matthi Clarke and James Perkins-An Derow.

Thanks for reading folks. More album reviews coming up very soon.

Fresh Tune 20 Chandler St: Maeve Gilchrist, Aidan O’ Donnell and Duncan Wickel

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I got this fresh track a few minutes ago. It is nice to post fresh tunes here and also artists that will pique your interest . Maeve Gilchrist is a Scottish harpist who is now based in the States. 20th Chandler Street is a track that provides a magical listening experience with its unique style and wonderful melody. Thanks to Rachel Hair for the shout out!

Day off in Jackson MI and Duncan, Aidan and I decided to record some of our new tunes.
This is 20 Chandler St, a tune I wrote to celebrate my roommate Matt Smith’s 40th Birthday! The address of many a great memory!

Duncan Wickel: Fiddle
Aidan O’ Donnell: Bass
Maeve Gilchrist: Harp

Add the band in facebook: https://www.facebook.com/pages/Maeve-Gilchrist

http://maevegilchristmusic.com/

http://www.myspace.com/maevegilchrist

CONOR DOHERTY

 

Learn Celtic Fiddle with Gillian Boucher

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Hi folks. Just discovered this wonderful fiddle musician/ teacher . I think my time on social networking sites like facebook exposed me to materials posted by other Celtic music lovers.  Like all best fiddle players that Cape Breton can offer, Gillian leads her pack like comets blazing the night sky of Celtic music. Fiddle playing has never been sweeter, infectious and explosive the way she does it. For those who are audience of Celtic Colors then you might have noted her performance from2008 to 2011. She already earned the Nova Scotia Music Week Award in 2009 for Roots Traditional Recording of the Year and an East Coast Music Award Nomination in early 2010 in the same category. Her playing is transporting and I can close my eyes and reach places in the mind that is not possible to access in the physical state.

This site http://gillian-boucher.com  lets you hear tracks from her album Elemental(2008).  She is working on a new album to be released this year.

I dedicate this post to my friend Nancie in Lyon France who is a fiddle player herself. I hope that one day I will hear her play.