I put Eddi Reader up there with the best artists in the world. Artists whose every release is always anticipated and also celebrated. She recently dropped her Best Of album and if you haven’t read my review yet, please check it out.
This little Q&A was arranged by my good friend Anita Daly. I got a kick after discover this in my mailbox. Eddi Reader has taught me that tact and simplicity always yield good results.
She also shares with us how she is able to maintain that amazing voice! We should all try her techniques if we want to have a singing career.
The Best of presents the evolution of your musical evolution through the years. Was it an arduous process trying to decide what tracks finally make it to the compilation?
I didn’t choose the tracks, it would have been almost impossible.. I never look back musically so although it sounded like the right time to assess and look at the path I have been on, It was best to keep a good distance so that when I listened I could hear it as a new complete experience. I set aside some time one afternoon and listened afresh to what my Manager Tom Rose chose.
I was very happy with it.
Looking back, have you known all along that you are going to be this influential?
I don’t have any idea that I am. I do meet people and younger ones who love bits and pieces of what Ive offered up. But if I have influenced I didn’t mean any harm. haha
What do you miss the most about being with Fairground Attraction?
Being in my twenties with energy of a cheetah!
Your voice is a fascinating instrument. How did you develop that style of singing and how do you maintain the your beautiful voice?
I drink loads of water when I work. I try to nap if I have no energy. Sleep repairs muscle and tissue. I try to remember not to shout too much when I talk.
How’s the book coming along?(Reader is writing a book for publication about her great-uncle Seamus (or James) Reader).
I will be relieved when it decides its done with me. I miss it when I’m away from doing it. But it sometimes seems endless.
Your success has influenced young women singer-songwriters to be brave. How do you see the music business today as compared to the time you fronted your first band?
Thank you . I hope that’s somehow true. But I think every human has a love of something and a feeling of purposeful drive. Nothing can stop anyone expressing themselves musically if that’s what they love to do.
I am not sure what the music biz is doing now. I ignore it as much as possible. I think the same is true today as it was before my time: Do it with love and light and the joy will be a great reward, the Mercedes will come later.
And finally, your message to your fans?
To anyone who has spent time listening while I sing I want to say thank you so much. xxxxx
Peter Purvis strikes me as a person who’d rather play than talk. But when he starts talking about music, it gets very interesting. I guess this is due to the part of him that loves teaching music. Growing up in the Ottawa valley immersed him to the culture of fiddle players, step dancers and yes even developing the love for maple syrup!
He picked up the Highland pipes at 12. He progressed to the Uilleann pipes and Irish whistle at 16. His musical upbringing provided him the great opportunity to be trained by the great musicians in the field.These lessons helped shaped his musical path to this day.
Peter joined the Gaelic Storm in2004. The band brought three albums to #1 in World music on the Billboard charts. Gaelic Storm have performed side by side, Goo Goo Dolls,Zac Brown Band,Lyle Lovett and Emmylou Harris at events such as the Telluride Bluegrass Festival and Milwaukee’s Summer Fest. So let us welcome this week’s featured artist Peter Purvis!
Gaelic Storm’s tour calendar is busy until April. How is the American tour doing so far?
The US tour is great. We do most of our touring in the US these days. All of us are based here now. I’m engaged to a wonderful and beautiful girl from Chicago so that’s where I spend my days. We try to get over to either Europe, Asia or Australia at least once a year, but we typically do about 100-110 shows in the US every year.
The movie Titanic helped skyrocket the band to the American Top 40. What were the memorable things that you remember achieving such mainstream success?
Haha…..Well I has about 14 when that movie came out. My mother drove me to the theater because I wasn’t old enough to drive. That’s a question you would have to ask the other guys in the band.
When you are a touring piper, what do you need to remember in terms of comfort and getting ready for a gig?
Tuning, tuning, tuning…… Keeping a well-tuned bagpipe is a hard thing to do in perfect circumstances and my circumstances are anything but perfect. The climate on the road is always changing, making it difficult and time-consuming to stay in tune. Additionally, my pipes are being thrown around in road cases all day. Plus your instruments are in a freezing cold trailer in the winter and a boiling hot trailer in the summer.
Your first pipe instrument was the Highland pipe at the age of 12. What were the challenges learning those instruments at an age where everyone wants to pick up a guitar and be a rock star?
I think I hear this question everyday, and I still don’t have a great response. I had family friends and relatives that played, plus Braveheart had just come out. As a 12 year old a had a man crush on William Wallace (Mel Gibson) All those factors together got me interested and once I started I became obsessed and haven’t looked back.
You have an online bagpipe lesson page. Would you please tell me about that?
I love to teach and wasn’t able to do much of it because I’m on the road so much. So, I wanted to figure out a way to continue teaching with my schedule. Online seemed to be the perfect solution. I’ve created lessons on my website, www.bagpipelesson.com, and from there, I’m able to provide a month of lessons for people to work into their own schedules. These online lessons also cost less than in-person lessons.
What I love most about it is that I’m able to offer lessons to people who don’t have access to good instruction and classes because of where they live or they simply can’t afford it. I have students as far away as Japan and as young as six years old.
What are the no no’s that one must remember when picking up a bagpipe as it differs from an Uilleann pipe?
I have been playing both for so long now that I never get them confused when playing. There are a couple of highland pipes embellishments that I will accidentally do on the uilleann pipes. However, for the most part they are such different instruments it’s hard to get them confused. As soon as your fingers hit the chanter your brain goes into an autopilot and you always know which one your playing.
What suggestions can you give to anyone trying to pursue such musical path?
If you love music and you want to make it your profession, just go for it. Who would have thought that a bagpiper from the small town of Merrickville, Ontario would be playing at some of the biggest music festivals, venues and musicians in the world? Anything is possible, you just gotta go for it. It’s not all about practice and trying to be the best. It’s also about getting out there, meeting people and being social. Above all, you really have to love what you do. I’m grateful enough to be able to do what I love for a living.
Are you doing studio work apart from the band right now? And care to tell me about it?
Currently, I’m working on two studio albums. One is a more contemporary Celtic/world/rock album and the other is new highland dancing album. I hope to have both out sometime in the summer. Gaelic Storm is filming a DVD on St. Patrick’s day in Milwaukee as well.
Who is Peter Purvis when he is not performing live or doing studio work?
It’s hard to ever really escape the bagpiper in me. When I’m at home, bagpipes are still a part of my everyday life. I give a lot of lessons and play in a pipe band. I do what all other Canadians do. Sit on my Chesterfield, watch hockey and eat maple syrup (the real Canadian sort) and poutine.
Since touring with Gaelic Storm, you’ve had the chance to perform with groups and artists like Sarah McLachlan, Hanson, the Barenaked Ladies, and Collective Soul. How was it like? What are some other highlights of touring and performing with Gaelic Storm?
Playing with these big bands is incredible; it’s something I never thought I would be able to do. However, it’s not very different than touring with any other band. They are all very down-to-earth and always ready to have fun. Some highlights in my time with the band include: performing at the Milwaukee Irish fest for a crowd of about 25,000 as well as playing at Telluride bluegrass festival with some of the best musicians in the world (Elvis Costello, Bella Fleck…..). Additionally, we do massive festivals in Europe that are just out of this world.
We also play music festivals on cruises around the Caribbean. “The Rock Boat,” one of the cruises that we’ve done, is the most fun that you could possibly have in just five days. If it weren’t on water, I’m sure it would be against the law to have as much fun as we have on it. Over the years, we have been joined on this boat by Sister Hazel, Collective Soul, Better Than Ezra, Hanson, Zac Brown Band, Barenaked Ladies, Sara McLachlan, Great Big Sea and many other great bands. It’s an absolutely wild time.
While on tour, anything can happen – from our singer Patrick Murphy slugging Russell Crow (It’s true. Look up our song called “The Night I punched Russell Crow”) to skydiving. Every day is different and more exciting than the last.
Music video by Gaelic Storm performing Rag and Bone. (C) 2012 Lost Again Records
Gallery:
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Huzzah!
After the previous article’s experience, I find it hard to write something without getting personal or not mentioning any reference to that incident. But then again I make sure to keep a balance between being informative and humorous (that is if you even find some of my writings humorous). But I understand the value of really being true to oneself. Flaws and all. You know when you get to that point in your life when you think you have created every unimaginable faux pas, every grain of hopelessness that permeates the unbearable lightness of being, that’s when you stop caring and just let everything flow. And when you allow that feeling to flow then your fingers simply follow and the brain works at a speed that is comparable to ordinary speech.
The Celtic Music Fan celebrates along with the billions worldwide, March as the month of Women. So today I will feature all women artists that I think are amazing in their fields. The first one in this list is Kyle Carey. I am amazed how she is able to maintain the balance between lightness and resonance in her singing.
I discovered the music of Heather Dale two years ago and once in a while she pops out in my status discussion.Musician Jim Wearne recommended her. Between funky sounds and spruce up renditions of classics, she maintains her vocal identity while highlighting the beauty of the Celtic harp :
If you don’t know yet, Shauna Burns combines the beauty of Goth, Americana and Celtic atmosphere in her every song. To me she is the Celticky Tori Amos and the god child of Siouxsie Sioux in the fashion department. For those who are more into the spiritually driven music then Shauna will haunt you with her fascinating melodies.
We are also celebrating St Piran’s day in Cornwall! So what better way to celebrate than the music of Dalla and Sue Aston!
Sue Aston has the most haunting Celtic violin.
If I didn’t include other notable female artists, it means they were heavily featured in my other editions so it doens’t mean those who are not here aren’t great. Everyone always finds her way back here 😉
A painter’s paradise: Eva McCauley talks about how in Ireland, “the air is infused with moisture, and because of that, there is a luminosity to the light that is very unique, and an incredible thing for a painter to experience.”
Technology has a way of bringing visual artists and musicians together. Art has become multimedia. Eva McCauley explores the mystical side of painting and print making with her installation works. Inspired by technology’s ability to create something new and her love for evocative spirit of the Irish landscape, she created haunting and beautiful artworks. These are hanging illustrations rendered in a way that light and occasional wind play tricks on them. If musicians like Loreena McKennitt, Moya Brennan, Enya and Connie Dover have talents that can transport you with their voices and melodies, then Eva McCauley is the visual counterpart of such power.
Hi Eva, welcome to The Celtic Music Fan artist of the week edition! Your prints are fascinating. Can you give us a brief background on the things that inspire your work…these are beautiful ‘ghostly’ creations of paintings printed on scrims of fabric (silk oraganza) and hung from the ceiling in multiple layers to create an installation.
My recent print media installation “In/Visible” was exhibited in Cork, Ireland this past August/September at the beautiful Wandesford Quay Gallery . As you say, the images are larger-than-life faces printed on transparent silk-like fabric (42” X 96”), making them appear almost ephemeral, wafting in the breeze as people walk by.
The images are originally created as hand-pulled prints (monotypes & lithographs) and then are digitally captured, enlarged and printed on fabric (PolyVoile) using a wide format Agfa Aquajet printer. The faces came to me as a result of my experience living in a pre-famine stone cottage on a cliff overlooking the Atlantic Ocean on the rugged southwestern coast of Ireland, where I was taking part in an artist residency in a very old village called Cill Rialaig, which has become an internationally renowned artist retreat, created by Noelle Campbell-Sharpe Although I wouldn’t consider myself to be superstitious, after living and painting in this stone cottage every day for a month, I became aware of the invisible but tangible presence of human beings, who may have lived in these stone dwellings in the past.
My show, called “In/Visible”, gave these “ghosts”, or apparitions, a larger-than-life presence in the exhibition. The large faces were interspersed with large photographic images of the skies and water, so that they melded with each other, creating a multi-layered layered effect, so that the viewer could see through each ghostly image to what was behind.
Your travels to Ireland inspired most of your artworks. What was the most memorable thing about your travels there.
As a a painter I was struck by the quality of the light. Since Ireland is an island, and it rains almost every day, the air is infused with moisture, and because of that, there is a luminosity to the light that is very unique, and an incredible thing for a painter to experience. It really is a painter’s paradise. And the people in Ireland are the salt of the earth…incredibly kind, generous, always have time to talk and tell stories, in spite of the incredibly stress they are experiencing as a result of their tanking economy.
The other aspect of Ireland that influences my art is the music—I play traditional Irish music on the fiddle, mandolin and concertina, and when I’m in Ireland I become totally immersed in the local music session scene, and the local people who play the music have become great friends. I listen to the music continually when I paint, and it’s become an integral part of my work.
You have a strong affinity for things Irish/Scottish …. this is a strong influence in your art. Even your son Jacob is a world renowned Bodhran player. What was the earliest memory you have being exposed to the Celtic culture.
My father, Robert McCauley, is the Irish side of my family. He plays the harmonica and Irish tin whistle by ear (and incredibly well!), and I grew up listening to him play. He took me to Ireland for the first time in 2002, and I was instantly smitten! Since then, I have been back to Ireland 4 times (and my son Jacob often flies over with me, and then takes off on his own travels in Ireland and Scotland) in 2007, 2009, 2010 and 2012 (for 6 week visits), and am looking forward to returning next summer for another artist residency in Cill Rialaig, Kerry. I then hope to return to the little village of Glendree (near Feakle) in East Clare for the music and to visit friends.
You are presently the Founder & Director of Riverside Celtic College, Guelph, Ontario. What can students learn going to this place?
We offer classes in traditional Irish and Scottish music (Irish Fiddle, bodhran, Irish Flute, Scottish Smallpipes, Mandolin and Tenor Banjo, Guitar accompaniment, Tinwhistle, Introductory Violin and Celtic Song) as well as Irish Language and Irish Ceili & Set Dancing. We also host trad sessions for students, as well as traditional music concerts with musicians, (both internationally renowned and emerging), from all over the world. Often we’ll offer trad music workshops in conjunction with the concerts.
In 2012 we’ve had concerts with musicians like renowned fiddlers Tony Demarco & Patrick Ourceau, brilliant Galway fiddler Maeve Donnelly with guitarist Andy Hillhouse, the amazing Irish flute player and singer Nuala Kennedy with fiddler Dana Lyn and guitarist Andy Hillhouse, and look forward to upcoming concerts with the new trad trio Nua (fiddler James Law, guitarist Graeme McGillivray and bodhran player Jacob McCauley) as well as a joint concert in December featuring Bua and North Atlantic Drift.
We have 52 mutual friends in facebook. And you are also very active in networking. But tell me, how effective is social network sites in terms of getting people to attend shows…especially in terms of those you invited within Ontario.
I think that it’s a great way to get the word out, as more and more people are on Facebook. And it’s an excellent way to keep people informed of what going on in one’s life and career, especially if you’re travelling, and touring around Ireland and having shows!
The Riverside Celtic Society is turning lots of heads these days. Can you tell us more about it?
I founded Riverside Celtic College in the village of Elora Ontario, in 2003, when I was first getting into learning how to play the fiddle. I was instantly addicted to the instrument, and traditional Irish music, but was having trouble finding instructors to teach Irish fiddling.
I started the school, partly because I wanted to learn how to play, but also wanted to turn other people on to the music. I also found that after my trips to Ireland, I would come back to Ontario and crave the intimacy and richness of the Irish culture that I’d left behind me, and had a desire to create that same feeling of community in Ontario.
So, in addition to starting the school, my close friends and I started a traditional Irish pub session at the Shepherd’s Pub, in Elora, Ontario, Canada, that has been going for almost 13 years! Since then, the school has evolved into a really special and unique non-profit organization that seems to attract the most wonderful folks to its classes and events.
Riverside Celtic Society has recently received a major catalyst to its growth and evolution as an organization: we received a generous two year grant from the Ontario Trillium Foundation, which has proven to be a very positive development, allowing us to offer a new educational outreach series of music/dance performances called the “Kitchen Party”, as well as hosting an exciting new concert series (including music workshops), called the RCC Traditional Music Concert Series “Live Trad at the Albion”.
We have also recently received generous donations from a group of former students, to create a a new traditional music scholarship, in memory of a dear former student who, sadly, passed away in June 2011, the Tom Kelly Music Scholarship. Ar RCC, we’ve essentially put our energy towards creating a community of like-minded people, who love the music and culture of Ireland and Scotland, and want to share that passion.
What albums are you listening to these days and what music would you recommend to us?
The most recent recording I’ve been excited about is the soon-to-be-launched EP of the new trad trio, NUA (full length CD to released in 2013), with fiddler James Law, guitarist Graeme McGillivray, and bodhran player, Jacob McCauley, which features some really exciting original music that, while grounded in traditional Scottish music, is really innovative and experimental in its approach.
A addictive traditional brew is being served courtesy of award-winning fiddle player James M Law, versatile & tasteful guitarist Graeme McGillivray and award-winning bodhrán player Jacob McCauley. Stylish, delicate at times and mostly energetic, Nua is a trio that’s sure to captivate and please listeners. I am a big fan of Jacob McCauley’s drumming style as he brings layers of expression to the bodhran. Graeme McGillivray’s wispy strums create an envelope of steady rhythm to the laser preciseness of James M Law’s fiddling.
NUA live in Guelph, April 2012. Original composition by NUA
NUA is an innovative new trad trio, bringing a fresh and unique sound to traditional music, creating their own distinctive flavour with both original and traditional compositions from Ireland and Scotland. Based in Toronto, Canada, NUA consists of three members: award-winning fiddle player James M Law, versatile & tasteful guitarist Graeme McGillivray and award-winning bodhrán player Jacob McCauley. The interaction between the three is what really makes the music shine, whether it be their soaring melodies or tasteful grooves. The trio is also well known for their exciting incorporation of odd time signatures and poly rhythms, which give the music an electrifying lift and spontaneity.
Each member adds their own distinctive sound and influence to the music. Although they are a trio with a sole melody player, the brilliant multi-tasking of each member is demonstrated countless times with perhaps a guitar-driven flat-picked melody, rhythmic fiddle playing, or melodic bodhrán playing to add to the mix. The ability for each member to take on multiple roles is one of the staples of NUA. This adds to a thrilling live experience, and a “you just don’t know what’s coming next” approach!
NUA is currently preparing for the release of their first E.P and their debut album to be released early 2013.
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!
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!
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.
Plus: Nova Scotia singer/songwriter Layne Greene for our EP review, Lady of the Woods: New Single from Jamie Smith’s Mabon album Windblown and Cormac O Caoimh
Corrina Hewat is our featured artist this week. She is a mom, a harp teacher, and a good friend to the harp community. She is promoting her project the Harp Village . “We have The Duplets, Maire Ni Chathasaigh and me and David the whole weekend, so it is a lovely mix of music and company!! The more people who come along, the better, so all publicity is great.”
Corrina Hewat has an eclectic sound. She walks between the world of traditional and avant-garde music. Listening to her album My Favorite Place her project bands including BACHUÉ give me a glimpse to her wide influences. Her music captures the Celtic sense of atmosphere and space while her refined style made her recordings at home with the urban world.
You have a huge catalog or recordings now. Do you have recordings you wish you could have improved? I am not saying they need improvement because your recordings sound polished but personally what do you think ?
All my recordings are purely ‘snapshots’ of where I was then. All the recordings are affected by where they were recorded, who was playing, how I was/we were at the time. I only ever set out to capture moments of time, and I believe that is what they all are. Every single one of them I would change and every single one of them I would keep the same as well. I don’t tend to listen to myself too much, and it only ever comes up on shuffle in the car mostly, so I can press ‘skip’ and move on. Or sometimes I listen and say ‘woah, what the heck was I thinking?!!’. Or ‘ooh that is a surprising bit’ or ‘wish I had done that instead’ or all sorts. Anyway, it’s all past stuff, so I don’t really have time to think about what I would have done better. I could have done it all better. And I will always think that.
So far, how is the experience working with BACHUÉ. Is there another BACHUÉ project in the making ?
I loved Bachue very much. It was a good fun thing and a happy thing. But it got swamped with all the other stuff that was going on, so it took a back seat for a while. I am going to do a duo gig with David Milligan in September at the Harp Village (28th – 30th September in Cromarty, The Black Isle in the Highlands of Scotland http://www.cromartyartstrust.org.uk/the-harp-village-2010.asp) and that will be the first time in ages we actually have done a gig together in such an intimate format. I’m looking forward to it. We play well together!!
You also teach harp. Does teaching come first and being an artist second?
Being an artist/musician comes first. Not that teaching comes second, but at the moment for me, I still want to write music, play and perform music, and if I can fit in teaching as well, then I do. I took on the Royal Conservatoire of Scotland’s Principal Scottish Harp Tutor job last year, and I have the help and support of Heather Downie. If I didn’t have that secondary support, then I couldn’t have said yes to it. I believe I need to continue to work towards being an inspired, creative musician and writer and strive to better myself and my work. My students will then have a happy, sharing, generous, inspired teacher. I have very few private pupils, due to my time constraints and time away touring or teaching workshops/week-long schools.
How has motherhood shaped your music and what is different now compared to when you were starting being a recording artist?
Motherhood changed me completely. Life is a joy, not a struggle now. (I used to think it was all so hard. And had a heap of crap I was carrying on my shoulders which I needed to unburden myself of, to move on.) And I lived a very ‘messy’ lifestyle but now there is no need for all that. The joy is in me and around me. Music is a joy – although finding time for it is slightly complicated sometimes. But I love being a mother so much. It ‘completed’ things for me which I didn’t realise needed completing! And I still believe my life, the traveling, the ‘being all consumed by music when in the middle of writing it’, and all that goes with being a musician, is still worth it, as I am a more fulfilled person. And if I am happy then I am a better mum.
What are the things you want to introduce to the harp scene? What is your grand vision?
I wanted to introduce a more relaxed approach to harp, and a more relaxed and creative approach to arranging. I found when I started playing that there were very few arrangements out there I even liked! Boring chordal movements, same patterns over and over again, as if that was all the harp could do! So pretty much as soon as I started learning the harp, (around the age of 12 or 13) I started writing music on the harp, arranging traditional tunes, putting mad sets together, learning music off tapes (remember them??!). I had a great teacher to start me off – Christine Martin (who is the book publisher Taigh Na Teud) – she gave me the basics, introduced me to the Clarsach Society (who I eventually hired a harp from for many years), and introduced me to the work of Savourna Stevenson. That gave me the impetus to keep writing and playing and trying to make more of the instrument. I have had amazing teachers, although sporadic. Christine for a year, then yearly weekend courses until I went to the RSAMD (now called the RCS) where i had Sanchia Pielou for a year. Then Maire Ni Chathasaigh when I was doing the jazz degree course. These three teachers gave me so much input and I thank them for it. I was a ‘wayward’ child, and they steered me well. Sileas also gave me inspiration as they were doing fun things with the harp in trad music.
My grand vision?? I want to inspire folk with my music. Inspire them emotionally, move them. Write music which people can live with and enjoy. Move them like I have been moved by others music.
A live clip of the Unusual Suspects at The Old Fruitmarket, Glasgow, 29 January 2011 as part of the Celtic Connections Festival. Featuring the tunes “Sandy Broon’s” & “Bogle’s Majority”.
Line-up:
Corrina Hewat (harp/vocal)
Ewan Robertson (guitar/vocal)
Eilidh Shaw (fiddle)
Anna Massie (fiddle)
Catriona Macdonald (fiddle)
Patsy Reid (fiddle)
Mairearad Green (accordion/ pipes)
Calum MacCrimmon (pipes/ whistle)
Donal Brown (pipes/flute)
Rick Taylor (trombone)
Nigel Hitchcock (saxophone)
Ryan Quigley (trumpet)
Colin Steele (trumpet)
Dave Milligan (piano)
Tom Lyne (bass)
Alyn Cosker (drums)
Donald Hay (percussion)
Here’s a clip of Scottish harp player Corrina Hewat playing a jig she wrote for Martyn Bennett. This is from Corrina’s online Scottish harp (clarsach) course at ayepod.net. Check it out at http://www.ayepod.net/webcasts/teaching/teaching.htm
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Lady of the Woods: New Single from Jamie Smith’s Mabon.
Ok I have heard the entire song and I like it! It is catchy, well crafted and the vocal harmonies are amazing. First time I heard a vocal track from the band that is known to perform great instrumental tunes. If you haven’t yet have a listen here and also download the track for FREE: http://www.jamiesmithsmabon.com/windblown/
If you are a band I’d suggest you get a photographer this band has. The pictures do an amazing way to promote the music!
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Nova Scotia singer/songwriter Layne Greene with Live!EP
Tea buddies: Layne Greene-Vocals/Guitar Alexander MacNeil-Guitar Artwork by The Celtic Music Fan.
Carving the modern Nova Scotia with the stories of people and places.
Genre: Folk
Released August 30, 2012
Personnel: Layne Greene-Vocals/Guitar Alex MacNeil-Guitar Shawn Bisson-Mixing/Engineer Andy Cunningham- Photography/crew
Knox Presbyterian Church located in Blue Mountain, Nova Scotia
Recording a crisp clear album impromptu takes a lot of skill to achieve. But singer/songwriter Layne Greene has been mixing and arranging music for years. So the live EP was conceived out of the desire to come up with songs that he recorded and arranged in the past but wanted a different take on them. This Business Administration major from St. Francis Xavier University(now in his sophomore year) juggles between making music and seeing himself producing them in the future. He even jokes that :” If worse comes to worse, I can work a crappy, well
paying, desk job”. Well I am sure it won’t come to that because he makes excellent songs that are well crafted.
One of the songs here called Working Man is dedicated to his grandfather who is a carpenter and builder of musical instruments. There are other songs that are biographical in nature. His lyrics show an introspective and philosophical nature. Although he admits that he isn’t much of a lyrics guy. He is more prone to think of songs like cathedrals with their intricate structures and designs.
Alexander MacNeil is a jazz musician who is also working with Layne on another recording. He adds his distinctive guitar style to this project. He also did the backing vocals in Iron Town. He has his own jazz Trio and Quartet. You can tell that these two made a great tandem in this EP.
One of the things that I really appreciate about this EP is the atmospheric beauty of all the tracks. I asked Layne if they used studio reverb and he said no. Everything in this project- especially the acoustic density -is through the interior of the Knox Presbyterian Church located in Blue Mountain, Nova Scotia, Canada. Engineering/mixing credit goes to Shawn Bisson who flawlessly captured the soul of the venue with such exquisite attention to detail.
I recent;y got acquainted with this wonderful artist who just released his album A New Season for Love. I am impressed with his vocal quality. I love it and his music is really worth your ears after a long day’s work.
Celtic Music Fan 