DRD - Namái (2005)

DRD was created for a series of concerts called Folk de Cámara (Chamber Folk Music) in 2003. DRD perform a mixture of traditional dance music and songs, and on a mixture of Asturian traditional instruments such as flute and fiddle, as well as on guitar and bouzouki.

DRD recorded their first album "Namái" in 2005 (with guest Irish piper, Jarlath Henderson). It was nominated in the category of Best Folk Album of the Year for AMAS Award and for "Premios de la Música" Award in the categories of Best Breakthrough artist, Best Traditional Album, Best Folk Song (for Mañena), and Rubén Bada for Best Producer (in Namái) and Sergio Rodríguez for Best recording technician (in Namái).

In 2008 their second cd came out!. The album was nominated for AMAS Award in the category of Best Folk Album of the Year and some tunes are included in the soundtrack of the television series "Doctor Mateo", the Spanish version of "Doc Martin" which premiered in Antena 3 with an average audience of just over 4.5 million viewers.

They also appear in compilations like "New Folk, Roots and Traditional Music from Northern Ireland" published by The Arts Council of Northern Ireland and the Northern Ireland Music Industry Commission, "37è Festival Interceltique de Lorient" the official cd of this famous festival and in other albums with Asturian singers like Mari Luz Cristobal Caunedo or Toli Morilla.

In 2005, they were awarded by the Spanish Youth Council. For that, they was playing in a series of high profile concerts all around Spain. Since then, they toured over Portugal, Brittany, Ireland, Germany... playing in the best festivals and auditoriums.

http://www.myspace.com/drdnamai

01. Seique
02. Poro
03. Axaxi
04. Adulces
05. Dafechu
06. Mañena
07. Entrín y non
08. Ende
09. Nel intre
10. Aina
11. De sul.lape
12. Albentestate
13. Escurque
14. Sele

Borja Baragaño: Wooden flutes. 

Dolfu R. Fernández: Fiddle, vocals. 

Rubén Bada: Bouzouki, guitar, fiddle. 


DRD-Namái 
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Camerata Meiga - Habelas Hailas (1999)

..."Habelas Hailas de Camerata Meiga,es más que un óptimo ejemplo de un trayecto trasnacional traducido a la música...,crea el terreno propicio para uno de aquellos magníficos inventos de "idioma perfecto" de cuya búsqueda habla Umberto Eco y para el que la estrategia de "World Music" abrió una vía...".

O Expresso – Lisboa

Camerata Meiga trata de acercarse a la música tradicional sin prejuicios; todas las influencias son válidas. De la misma forma, la instrumentación que utiliza la Camerata, la elección de los temas, la resolución de los ritmos, son productos del mestizaje y la ruptura de las "fronteras" impuestas en estos campos.

Camerata Meiga surge como la superación natural de una etapa musical previa: "Xeque Mate". Con este grupo se grabaron dos discos: "Paisaxes" (1995 - Clave Records) y "Alén da Lenda" (1997 - Ed. Resistencia). Ambos trabajos y las giras realizadas cosecharon elogiosas críticas y un importante éxito de público.

La evolución musical de sus miembros y la unión con tres nuevos músicos dan como resultado esta nueva visión de la música galega que es "Camerata Meiga".

Entre Marzo y Mayo de 1999 Camerata Meiga ha grabado su primer C.D., "Habelas Hailas",(Ed. Resistencia) con la colaboración de la cantante portuguesa Amélia Muge y la producción de Juan Alberto Arteche.

Los integrantes de Camerata Meiga tienen un largo e intenso recorrido dentro de la Música, destacamos Música con mayúsculas ya que, para nosotros, no existen diferencias en élla, sólo meras clasificaciones: folk, tradicional, clásica, popular, etc..

(http://usuarios.multimania.es/cameratameiga/camerataesp.html)

1-Praza do ferro

2-A Tentaçao 

3-Brincadeira 

4-Ai lá!

5-Bailai ben

6-Camiño da Prata

7-Danza do entroido

8-Da folliña dunha rosa

9-Canto de sereas

10-Introducción e Jota do obradoiro

11-Marcha do Pelegrín

12-Adiós meu meniño,¡Adiós!

13-Mare Vostrum

14-Hora Meiga

José Amador: Violín.

Nacho Casas: Saxo y flauta de pico.

Víctor Gil: Violoncello, mandolina, rabel, guitarra.

Carlos Iglesias: Piano, acordeón, guitarra, laúd.

Miguel Forneiro: Marimba, teclados, acordeón, gaita.

Rubén Giorgis: Contrabajo.

Tino Mojón: Percusión.

Camerata Meiga - Habelas Hailas
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David Krakauer - Klezmer Madness! (1995)

Internationally acclaimed clarinetist David Krakauer redefines the notion of a concert artist. Known for his mastery of myriad styles including classical chamber music, Eastern European Jewish klezmer music, and avant-garde improvisation, Krakauer lies way beyond “cross-over”. His best-selling classical and klezmer recordings further define his brilliant tone, virtuosity and imagination.

David Krakauer is in demand worldwide as a guest soloist with the finest ensembles. Recent collaborations have included the Tokyo String Quartet, the Kronos Quartet, the Emerson String Quartet, the Lark Quartet, Eiko and Koma, the Orquesta Sinfonica del Barcelona and the Brooklyn Philharmonic Orchestra. He had an 8-year tenure with the Naumburg Award-winning Aspen Wind Quintet, and has also enjoyed long relationships with prestigious Summer festivals including the Marlboro Music Festival, the Norfolk Chamber Music Festival and the Aspen Music Festival.

As a leading figure in world music, clarinetist David Krakauer has redefined klezmer through his innovative recordings and passionate stage performances. With his band Klezmer Madness!, Krakauer has forged alliances between his branch of world music and a multitude of musical genres including jazz, rock, funk and most recently hip-hop. Touring internationally to major venues and festivals including Carnegie Hall, San Francisco Performances, the Krakow Jewish Culture Festival, BBC Proms, Saalfelden Jazz Festival, New Morning, WOMEX and La Cigale has enabled Klezmer Madness! to leave a lasting impression on the myriad and diverse music scenes of the World.

1. Africa Bulgar
2. Bocota Bulgar
3. A Few Bowls Terkish
4. At The Rabbi's Table
5.  Doina / Death March Suite
6. Funky Dave
7. The Ballad Of Chernobyl
8. Gong Doina
9. Living With The H Tune
10. Rachab

David Krakauer: Clarinet and bass Clarinet.

Michael Alpert: Accordion and vocals.

David Licht: Drums.

Guest:

Anthony Coleman: Keyboard sampler (4, 7).

Adam Rogers: Guitar (6)

and from the Ballenato Group Los Macondos de Colombia:

Guillermo Peñate: Guiro.

Juan Ortega: Timbales.

Oscar Ortega: Congas.

David Krakauer-Klezmer Madness!

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Milladoiro - Galicia No Tempo (1991)

Recorded in 91. Special composition for a great exhibition on Galician history. Composed of four movements; traditional Galician tunes and one original composition.

1. As Raíces
2. O Camiño
3. O Esplendor
4. O Noso Tempo


Milladoiro- Galicia No Tempo
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Chango Spasiuk - Pynandí (Los Descalzos) (2009)

La palabra guaraní "pynandi", que viene de py = pie y nandi = desnudo o nada, sería "pie sin nada", pero significa descalzo.
No necesariamente tiene que ver con la marginalidad o la pobreza. Más bien pies descalzos de la gente que vive y trabaja en las zonas rurales.
Pies de una infancia donde hace calor y uno pasa mucho tiempo descalzo.

Chango Spasiuk es compositor de la música que interpreta ("El camino", "Suite nordeste", "Tristeza", "Infancia", entre tantas creaciones más); también toca clásicos de chamamé -Alvear Orilla de Isaco Abitbol, La Ratonera de Ernesto Montiel, son algunos ejemplos- a los que muchas veces reelabora y desarrolla con una mirada contemporánea. En todos estos sonidos, ritmos, climas y texturas, hay una narración que nos traslada a rincones, paisajes y retratos de nuestra tierra y de nosotros mismos.
Tras su esperado regreso al escenario de Cosquín 2009, una posterior gira por Europa y EE.UU., y una actuación en el Carnegie Hall de la ciudad de New York con las más elogiosas críticas, Chango presenta "Pynandí - Los Descalzos", producido por el prestigioso compositor norteamericano Bob Telson (Bagdad Café) y editado a través del sello Sony Music. 

1. Tierra Colorada
2. El Camino
3. Suite Nordeste- Movimientos 1 y 2
4. Suite Nordeste- Movimientos 3 y 4
5. Señor O
6. Tristeza
7. Infancia
8. Viejo Caballo Alazán/ Interludio: Gurí
9. Alvear Orilla/ Estancia Santa María
10. Tío Marcos/ Apóstoles
11. La Ratonera
12. Doña Fidencia
13. Panambí (Mariposa)
14. Mejillas Coloradas/ Para Lucía
15. La Ponzoña

Chango Spasiuk: Acordeón.

Sebastián Villalba: Guitarra y voz.

Marcos Villalba: Percusión y guitarra.

Víctor Renaudeau: Violín.

Heleen De Jong: Cello

Juan Pablo Navarro: Contrabajo.

Alejandro Oliva: Percusión.

Marcelo Dellamea: Guitarra.

Músicos Invitados:

Tito Escobar: Acordeón de botones (11).

Héctor Chávez: Voz (8).

Pablo López: Violín Barroco (14).

Chango Spasiuk- Pynandí (Los Descalzos)

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La Bouttine Souriante - Toute Comme au Jour de l'An (1987)

http://www.bottinesouriante.com/

1. La Fille Engagère
2. Le Réveillon Du Jour De L'An
3. La Parenté
4. La Poule A Colin
5. Un Dimanche Au Matin
6. Oublions L'An Passé
7. Pot-Pourri De L'Essouflé
8. Pot-Pourri Surf And Turf
9. Valse Bernadette
10. Reel De Jos Cormier

Michel Bordeleau: Voices, mandola, mandoline.

Denis Frechette: Piano.

Yves Lambert: Harmonica, accordion, voices.

André Marchand: Guitar, feet, voices.

Martin Racine: Voices, violone, mandola.

La Bouttine Souriante - Toute Comme au Jour de l'An 

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Michael McGoldrick & John McSherry - At First Light (2000)

Blimey. This comes roaring out of the blocks at a rare ol' pace and barely stops for breath during the entire duration of the album. Then again, Manchester's Mr McGoldrick is clearly a man in a hurry. He needs to be with the numerous different projects demanding his multifarious skills, from Lunasa to sessions for every Irish album in christendom. The 2001 Radio 2 folk instrumentalist of the year duly delivers a full exhibition of his dazzling and flowing repertoire, through whistle, pipes, bodhran and flute (the natural way he makes it all sound so easy is the real killer). But this time, egged on by the audacious piping of one of the most dynamic of the current breed, John McSherry, you get the feeling this album touches the very heart and core values of what McGoldrick is about. There's some heavyweight talent among the supporting cast, too, including Dezi Donnelly and Aidan O'Rourke on fiddle, Manus Lunny on bouzouki and guitar, Paul McSherry on guitar and even a cameo appearance by Donald Shaw of Capercaillie, also a co-producer with the two main attractions. Together they exude that rare ability to switch mood and tempo at the merest nod, maintaining all the spirit and atmosphere of a bar session within a studio structure. Many have tried, most have failed and it's perhaps no exaggeration to say the whole thing elevates them into the realms of modern inheritors of the mantle provided by the greats in Irish music. There are plenty of outstanding Celtic bands around right now, from Kila and Lunasa to Dervish, Danu and Old Blind Dogs, but the two Macs display the instinctive character to make this a benchmark selection of tunes--covering the whole range of jigs and reels and beyond--in its own right. A dip into Pierre Bensusan here, a nod to Liz Carroll there, but otherwise it's down the line traditional Irish music played with both passion and guile. Phew, what a scorcher. 

Colin Irwin, october 2001.

© fRoots Magazine all rights reserved

Here's a dream team for you: flutist Michael McGoldrick and piper John McSherry, both of them founding members of the great trad band Lunasa and both of them world-class players in the traditional style who nevertheless don't mind tweaking tradition once in a while. The wooden flute and the Uillean pipes are a lovely combination: Whereas the Scottish highland pipes are a battle cry, the Uillean pipes are a mournful wail, and their sound blends beautifully with the throaty, woody tone of the Irish flute. McGoldrick and McSherry make the most of that compatibility on this wonderful album, whether galloping headlong through thrilling sets of reels ("Farewell to Connaught," "John Nee's") or echoing each other plaintively on a lament like "Doinna." On several tracks they abandon their primary instruments to play the tin whistle in joyful unison, as they do on the excellent "Donald Blue/Ornette's Trip to Belfast" set (which also features a strange and wonderful guitar solo by Andrew White). Highly recommended to fans of old and new Irish music alike.

Rick Anderson (http://www.cduniverse.com/search/xx/music/pid/2402220/a/At+First+Light.htm)

1. Farewell to Connaught

2. Rolling Waves

3. Doinna

4. Ornette's Trip to Belfast

5. Lucy Campbell's

6. Lady Lane

7. Trip to Ireland

8. The Bloom of Youth

9. Lacey's Jig

10. The Graf Spee

11. Road to Taynuilt

Michael McGoldrick: Flutes, whistles, pipes.

John McSherry: Pipes, whistles.

Paul McSherry: Guitar.

Andrew White: Guitar.

Ed Boyd: Guitar.

Manny Lunny: Bouzouki.

Dezi Donnelly: Fiddle.

Aidan O'Rourke: Fiddle.

Donald Shaw: Keyboards.

Ewen Vernal: Bass.

McGoldrick & McSherry- At First Light

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Brian Finnegan - When the Party's Over (1993)

A barnstorming performance on both flute and whistle from one of the front runners in the new folk revival. An early release which highlights all of the promise and potential that is now apparent on all the albums he now features on - and that's a few.

1. Hammy Hamilton's - Kitty's Got A Clinking Coming to the Fair - Old As the Hills
2. Father Roche - Liam Murphy's Delight
3. Take A Message To Julie - Egan's - The Extremity
4. The Last Chance
5. The Slgo Reel
6. Purfy - You May Be Certain of It
7. The Laurel Tree - In the Promised Land - When the Party's Over
8. Skating While the Ice Melts - Madame Vanoni
9. Sweet Rain - Son Ar Rost
10. The Parting
11. The Highland Fiddle - Hogties
12. Sergeant Murray - Hanley's Tweed - Boys of Balisadeer
13. The Donegal Lass

Brian Finnegan: Flutes & Whistles
Paul McSherry: Guitars
Shane Power:  Keyboards & Percussion
Peter Houlahan: Bodhran
Eoghan O'Brien: Harp & Guitar
Ian Carr: Guitars
Bruce Arthur: Percussion
Eammon McElhom: Piano & Guitar

Brian Finnegan-When the party's over
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Michael McGoldrick - Aurora (2010)

Michael McGoldrick is famed as one of the greatest flute-players in the world (he also plays tin whistle, uilleann pipes and low whistle), and has collaborated with John Cale, Youssou N'Dour and Kate Rusby, among many other luminaries. Though he's evidently not averse to a spot of good old Celtic fluting, as his debut, the markedly traditional Morning Rory, proved, he has since gone on to explore a more invigorated style of playing, bringing an energy and vitality to the flute, in a way that isn't altogether removed from Andrew Bird and Owen Pallett have done with the violin — albeit not quite so pop-orientated. His last two solo albums, Fused and Wired, have dabbled in trance, jazz and Indian percussion.

On Aurora he has reined the fiery experimentalism a notch or two, though there's still something unconfined and adventurous about the way he plays, and indeed the way he structures his pieces. It's there, too, in his willingness to meld the traditional and the more contemporary — the frantic opening of Freefalling, for instance, which McGoldrick explains as having been inspired by a bungee jump in New Zealand, conjures sharp bursts of brass and keyboard, while on the closing Tunin Dre, a song written by guitarist Ian Fletcher, with whom McGoldrick plays in Future Trad Collective, the structure is brought by a west coast G-funk beat.

But there are more conventional numbers here too — Late Nights at the Central, for instance, includes a contribution from Moving Hearts founder Dónal Lunny and is a melding of four jigs, including one in tribute to late-night sessions at Glasgow's Central Hotel during the Celtic Connections festival, and another named Christy's Carrots, dedicated to an allotment-owning friend who leaves vegetables on McGoldrick's porch.

This is really McGoldrick all over; a kind of bungee-jumping, carrot-loving, G-funk flautist. In this record he seems to be finding a new mature footing, the youthful wilfulness meeting a tradition he loves, and something of the bite and elation of his legendary live performances.

Laura Barton (http://www.bbc.co.uk/music/reviews/wm8r)

01 Freefalling

02 Late nights at the central
03 Mackerel and tatties
04 Annam cara/Ships inthe night
05 Mickey's reel
06 Stone of destiny
07 Corrievreckan
08 Pontivy
09 Waterbound
10 Baltimore beginners
11 The jolly angler
12 Tunin dre

Michael McGoldrick: Wooden flute, uilleann pipes, mandolina, dobro, vocal, guitar.

Dezy Donnelly: Fiddle.

Donald Shaw: Keys.

James Mackintosh: Drums, percussion.

John Joe Kelly: Bodhrán.

Parvinder Bharat: Tabla.

Neil Yates: Trumpets.

Ed Boyd: Guitar.

Ewen Vernal: Basses.

Che Beresford: Drums.

Additional guest musicians:

Tommy Smith: Sax (4,7).
Heidi Talbot: Vocals (9).
John McCusker: Fiddle (9).
Manus Lunny: Bouzouki, guitar (1,3,5,7,10).
Emma Sweeney: Fiddle (2).
Alan Kelly: Accordion (1,3).
Andy Seward: Bass (9).
Donal Lunny: Bouzouki, guitar, bodhán (2, 11).
Brendan Power: Harmonica (6).
Anna Massie: Guitar (7).
Signy Jakobsdottir: Percussion (7).
Ian Fletcher: Electric guitar (4, 12).
Dermon Byrne:  Button accordion (2).
Colin Farrell: Fiddle (5).

Mike McGoldrick- Aurora

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De Danann - Selected Jigs, Reels and Songs (1976)

De Dannan are one of the most famous traditional Irish groups of the recent past. Their often-changing membership has spun off solo careers for singers Maura O' Connell, Mary Black and Dolores Keane and has included such luminaries as Andy Irvine, Johnny Moynihan, Frankie Gavin. They are regarded by many as one of the great Irish folk groups of recent years, along with the likes of Planxty and the Bothy Band.

De Dannan were formed in 1974 in the Irish-speaking area of Spiddal, Co. Galway, and then consisted of Frankie Gavin, Alec Finn, Johnny McDonagh and Charlie Piggott. Dolores Keane joined to become the first of many lead singers, for their debut album; since then, the lineup has changed many times, most especially the lead singer, which slot has also been occupied by Mary Black, Maura O' Connell, Johnny Moynihan, Eleanor Shanley and now Tomie Fleming.

1.      Tom Billy’s/ Ryan’s/ The Sandmount/ The Clogher

2.      Love Will Ye Marry Me/ Byrne’s Hornpipe

3.      The Broken Pledge/ Jenny’s Welcome To Charlie

4.      The Banks Of The Quay/ Crucaharan Cross

5.      The Flower Of Sweet Strabane

6.      The Flowers Of Spring/ Jackie Small’s Jig

7.      The Log Cabin/ Bean A’ Ti Ar Lar

8.      Carolan’s Draught

9.      The Bank Of Red Roses

10. Over The Bog Road

11. The Hags Purse/ The Colliers Jig

12. Barbara Allen

13. Dear Irish Boy/ Johnny Leary’s Polkas

Frankie Gavin: Fiddle, Whistle.

Alec Finn: Bouzouki, Guitar.

Ringo McDonagh: Bodhrán.

Chalie Piggot: Banjo.

Johnny Moynihan: Voices.

De Danann- Selected Jigs, Reels and Songs

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Fred Morrison- Outlands (2009)

Bagpipes and bluegrass might seem unlikely musical bedfellows, but for the Scottish piper Fred Morrison, one of Celtic music’s most profoundly skilled and audaciously inventive exponents, they form a wholly natural alliance. His latest album project, Outlands, featuring such top Americana luminaries as producer Gary Paczosa, banjo/guitar ace Ron Block and Grammy-winning multi-instrumentalist Tim O’Brien, sets out to explore the inherent connections Morrison perceives between their traditions and his.

“I’ve always heard a really strong affinity between my own South Uist background and the Irish travelling pipers’ style played by people like Paddy Keenan,” he says, “and when I started playing the Irish pipes myself, I also found this deep-down rhythmic connection with bluegrass music – to me it’s as if they’re all one and the same.”

1. Train Journey North
2. The Wildcat
3. Leaving Uist
4. Seonaidh’s Tune
5. Nameless
6. Outlands
7. Downtown
8. Kansas City Hornpipe
9. Drumcross
10. The Hard Drive

Fred Morrison- Outlands
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Derviches Tourneurs de Turquie - La Cérémonie des Mevlevî (1991)

Here, the great Kudsi Erguner performs (in tandem with a number of other musicians) a sema ceremony in the Bayati mode. The compositions on this album were penned by Kochek Dervish Mustafa Dede, a Sufist from the 16th century. It stands as the oldest composition of Mevlevi Sufi music with a known composer. Not only that, but it's a relatively lively composition that's executed wonderfully on this album. The ney playing by Erguner is outstanding, as one would expect, and the vocals from the accompanying group work well within the framework set out by the ney and bendir. For someone looking to delve into the music of the dervishes, this album from a relatively small French label wouldn't be a bad place to start. There are countless other worthwhile albums available, but this one falls into the group of better ones. For a look into the breadth of Islamic music, of which this is only one part, one might wish to look into the Music of Islam series on Celestial Harmonies (which also includes an album from the Aissaoua sect of Sufism), but for sheer Mevlevi goodness, this album would be a good way to go.

Adam Greenberg, All Music Guide

1. NA'AT -I-MEVLÂNÂ (Praise to the Prophet)
TAKSÎM (Improvisation on the ney)
2. PESREV (Instrumental prelude)
BIRINCI SELÂM (First salutation)
3. IKINCI SELÂM (Second salutation)
4. UÇUNCI SELÂM (Third salutation)
DORDUNCU SELÂM (Fourth salutation)
TAKSÎM (Improvisation on the kemanche)
5. NIYÂZ AYINI (Ceremony of the vow)
TAKSÎM (Improvisation on the ney)

6. RECITING THE KORAN

 Derviches Tourneurs de Turquie - La Cérémonie des Mevlevî (1991)

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Llan de Cubel - Deva (1987)

Llan de Cubel es un grupo asturiano de música folk, que trabaja sobre la tradición músical asturiana, dándole un nuevo sonido. 

Para ello recurre al material recogido en los archivos de los grupos asturianos de investigación etnográfica, así como a una labor complementaria de trabajo de campo por parte de miembros del propio grupo, sin olvidar los temas más populares conocidos por todos los asturianos.La formación de los componentes del grupo se basa en dos aspectos fundamentales: por un lado, son músicos tradicionales, conocedores e intérpretes habituales de los instrumentos más característicos de Asturies; por otro lado, su interés por otras tradiciones de la Europa Atlántica ha enriquecido los conocimientos musicales del grupo, especialmente en los aspectos técnicos y armónicos. 

El sonido de Llan de Cubel es acústico. El peso de la melodía y la percusión lo llevan los instrumentos asturianos, mientras que la armonía la proporcionan la guitarra acústica y el bouzouki. 

Desde sus inicios en 1984, Llan de Cubel ha participado activamente en el proceso de revitalización de la cultura tradicional asturiana, contribuyendo igualmente a la divulgación de la misma, sobre todo en lo que a música y lengua se refiere. Su labor como grupo pionero del folk asturiano está reconocida en la importante obra «Historia de Asturias», en el apartado dedicado a la historia de la música asturiana. Hoy en día es la formación más consolidada dentro del movimiento folk autóctono, siendo referencia importante para las nuevas generaciones.

1. Muñeira D'Ibias

2. Scottish - Rabelada

3. Muñeira de Batribán - Muñeira de Rengos

4. Alón a teixidiellu

5. Reels - Saltón

6. La Deva

7. Entemediu de misa

8. Muñeira de Lliberdón - Marcha del Tan

9. Suite de valses

10. Danza de Santana

Marcos Llope: Flauta, xiblates y voz.

Fonsu Mielgo: Curdión, xiblates, tambor asturianu y punteros.

Daniel Lombas: Bodhran y baxu pedal.

Elías García: Bouzouki, gaita asturiana, xiblata y voz.

Guzmán Marqués: Vigulín, mandolina, bouzouki y voz.

José Manuel Cano: Guitarra acústica y clásica.

Llan de Cubel- Deva

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Millish - Millish (2005)

Frank Zappa once stated, "Writing about music is like dancing about architecture." Rather than attempt to describe Millish's music, it would be more worthwhile to cite the musical ingredients that create their music.

Millish is comprised of State Champion bluegrass fiddler Brad Phillips, National Award-winning jazz percussionist Mike Shimmin, World Champion Uilleann piper Tyler Duncan, and blazingly inventive acoustic guitarist Jesse Lee Mason, all of whom share an active interest in jazz. Never forcing a preconcieved notion of "fusion," the band has let their music coalesce over the past four years, and it's already turning heads worldwide. Their debut album earned them an International Acoustic Music Award - before it was even released.

Millish is united by a single musical goal: to participate in the evolution of modern music. Judging by their accolades, they're well on their way.

http://www.millish.com/

1. Parachute Man
2. The Mighty Pickle
3. Blue Rondo
4. Asanul
5. Chet Vorno Horo
6. Stairway To Heaven
7. Hungry Man #1
8. Kirstie's


Brad Phillips: Fiddle.
Mike Shimmin: Percussion.
Tyler Duncan: Uilleann pipes, whistles.
Jesse Lee Mason: Guitar.




Millish - Millish (2005)
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Taraf de Haidouks- Maskarada (2007)

In theory, the concept behind the twelve-piece Taraf de Haidouk’s fifth album,Maskarada is intriguing, as the album is conceived as a ‘re-gypsyfied’ reply to early 20th Century classical composers such as Ravel or Bartok (two of whose compositions are included here, along with work by de Falla and Khachaturian) who themselves borrowed from the gypsy tradition; in turn we are asked to imagine a concert hall transformed to a cabaret. Unfortunately at some point the revellers seem to have strayed into a hall of mirrors leaving us feeling dizzy and a little sick. 

For centuries, gypsy musicians stood at the crossroads between the traditional and formal, the folk dance and the court ball, and Taraf de Haidouks set out, in a somewhat academic fashion to take us through the changes from the waltz to the sirba. It’s often the case that the more intellectualised the musical concept, the less moved we actually feel, and so Maskarada proves too. For every powerful re-interpretation (the Bartok pieces, or “Asturias”) there is either a stilted retread of the kind of music you would pay for people not to play, or, at least, not to play near you (“De Cind Ma Aflat Multimea” or “Lezghinka” come to mind). By the time “In A Persian Market” comes around with its appropriation of “Autumn Leaves” the main question is not so much who is wearing the disguise as to how much longer lazy appropriation can be disguised as playful reinterpretation, the answer, being nine more tracks, approximately. Sadly this is not so much the frenzied new-folk cabaret promised so much as an Olde-World heritage affair, however pretty the sleeve or dressed-up the concept.

Tim Nelson [en http://www.bbc.co.uk/music/reviews/n4p2]

1. Ostinato and Romanian Dance

2. Lezghinka 

3. Danza Ritual Del Fuego 

4. Waltz From Masquerade 

5. In A Persian Market 

6. De Cand Ma Aflat Multimea 

7. Romanian Folk Dances 

8. The Missing Dance 

9. Asturias 

10. Parca Io Te Am Vezut 

11. Hora Moldovenesca 

12. Les Portes De La Nuit 

13. Parlapapup 

14. Suita Maskarada

Taraf de Haidouks- Maskarada (2007)

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DRD- DRD (2008)

DRD perform a mixture of traditional dance music and songs, mainly from the western part of Asturies and on a mixture of Asturian traditional instruments such as flute and fiddle, as well as on guitar and bouzouki. DRD recorded their first album in 2005 (with guest Irish piper, Jarlath Henderson) and are an exciting and innovative new voice in European folk music. They were recently selected by the Spanish Arts Council to represent Asturies in a series of high profile concerts.

01. Inera
02. Escorniellu
03. Peñera
04. Raidoriu
05. Moxeca
06. Tremoria
07. Rodendu
08. Ñora
09. Frayón
10. Canxilones
11. Branzal
12. Péndoles

Dolfu R. Fernández: Fiddle, vocals.

Rubén Bada: Bouzouki, guitar.

Borja Baragaño: Wooden flute.

DRD-DRD (2008)
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