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| Kieran Fahy |
'Seven Evenings, Seven Mornings' reviews "I didn't hear this groups' first
album but this new one is a knockout! Shantalla features four superb instrumentalists
from Ireland (Joe Hennon/ guitar, Kieran Fahy/ fiddle & viola, Michael
Horgan/ uilleann pipes, whistles & flute and Gerry Murray/ accordion,
bouzouki & whistles), along with a superb vocalist from Scotland (Helen
Flaherty) and their new one is on a label from Belgium! The songs and
tunes are mostly traditional along with some more recent compositions
in traditional vein. There are six songs and six instrumental sets. The
songs are terrific and the instrumental work is beautifully conceived
and with a power and cohesiveness that brings to mind the heyday of The
Bothy Band. There are no synthesizers or pretentious arrangements - just
great music beautifully performed by some extremely talented performers.
Highly recommended." "There's something a bit humbling about thinking
you've found a new band and then discovering no fewer than six pages of
reviews of them on their website. When you open up the sleeve notes and
find an introduction from Mairead Ni Mhaonaigh you know there's going
to be something good coming up. When you listen you think how much you'd
like to see them live. When you read the reviews you wish people wouldn't
burden them by comparisons with the Bothy Band and Planxty - but that's
just what you're tempted to do yourself, because this is acoustic playing
and singing in the finest of traditions. Even without the vocals I'd buy
this album to listen to the playing - pipes, whistles, flute, bodhran,
guitar, fiddle, viola, accordion, bouzouki, mandolin and a bit of additional
percussion; add the voice of Helen Flaherty and you've got a real bonus.
It has the purity of the afore-mentioned Mairead... but also a depth and
richness. The choice of material - traditional and new - is excellent.
There is fine arranging, fine playing and fine singing. After that first
time the CD has hardly been off my player." "Seven Evenings, Seven Mornings is a spectacular
outing for a band whose tastes range wide and whose abilities know no
bounds. They draw on a deep well of energy; "muscular" is a word which
springs to mind when listening to many of the tracks. No matter what the
song, Helen's lead vocals are a pleasure, highlighted in a number of instances
by some judicious harmonising (and occasional double-tracking).
So what of the tunes? Well, there's more than enough rousing musicianship
on this album to delight the ear and the feet. The final reel set - "The
Journey By Train/Richard Dwyer's/The Ivy Leaf/Vincent Blin's No 1" - is
a blinder! Nothing which has gone before can truly prepare the listener
for the fierceness of this finale. Yes, we've been treated to fine musicianship
- musicianship of the highest order! But this "Journey By Train" is courtesy
of a railroad crew who have thrown off all the brakes. Joe Liddy's reel,
which opens the set, is played at a relatively slow pace to begin with,
then it's played at full-tilt. In that split second, when the decision
is made to up the tempo, something wondrous and liberating happens, the
results of which energise the remainder of the set, which incorporates
"the best tune in the Irish tradition" (The Ivy Leaf) and a version of
"Vincent Blin's" whose fluidity and relentless logic amazed Pay The Reckoning.
All in all, a killer album by a virtuoso group, playing at the height
of their musical powers! We can barely wait for the next release." "Such a span of time seems grossly inadequate to
fully acquaint with music such as this. 12 Tracks in all to shake your
bones and anything else you care to. The album is strongly traditional,
in a similar vein to Altan, but with a definite sense of its own identity.
A mix of Irish, Scottish and contemporary material and self penned tunes,
this, the bands second album deserves to garner them a solid backing in
these Isles. Based in Belgium, and a sizeable hit on the Continent, the
outfit comprises four Irish musicians and one Scottish vocalist (and bodhran
player). Their playing throughout is joyous, and precise, without becoming
too clean. Right from the opening notes of the album, you know they mean
business. "John Riley" is a solid opener with crisp vocals underpinned
by brilliant musicianship. It is obvious that a great deal of work and
thought has gone into the album and all the arrangements, conveying the
informality and enthusiasm of a session. The album juxtaposes songs with
jigs and reels cleverly, managing to keep the attention and the momentum
of the music. Truth to tell, I could wax lyrical about this all day. There
isn't a fault with it that I can discern. It really is music to make you
feel alive. So if you'll excuse me I'm off to fetch a whiskey and my Bodhran
and crank up the stereo once more. " "...It's this blend of the Scots and Irish,
the match of Helen's superb, warm voice to the compelling music of the
four men, which has established Shantalla as something more than a little
bit special. There are echoes of Danú here and also occasional glimpses
of Altan there (and Mairéad Ní Mhaonaigh has penned the introduction to
the liner notes, helpfully translated into French and Flemish) but, there's
something quintessentially stirring about Shantalla's music which sets
them apart. Like both the band's mentioned they make no concession to
speed, no subtleties are lost and the temptation to be flashy is firmly
resisted. Their tune choice is exemplary and the sheer breadth of their
playing and, especially, the wonderful combination of flute and fiddle,
is expressed most resoundingly in the closing set of reels The Journey
by Train/Richard Dwyer's/The Ivy Leaf/Vincent Blin's No1. Shantalla's
last album was taken up by Green Linnet for worldwide distribution and
this one richly deserves similar action." "With their exciting concerts Shantalla have already
established themselves as one of the leaders in the new collection of
folk groups. The Brussels-based fivepiece has been around since the '90s
but really stormed onto the folk scene with the arrival of the Scottish
singer Helen Flaherty. Her beautiful voice is a great addition, and the
dynamic flair which characterises their live performances is also obvious
on this new album (recorded in Belgium). This collection of originals,
traditionals and sets of different reels and jigs is also mostly uptempo
- with the exception of one moving lament. With an exceptional frontline
of accordion, fiddle and various wind instruments they create a richness
of sound that is rarely matched in the folkworld. Very traditional, it's
true, but a lot more relevant that many hip rock albums. It speaks volumes
that several of the concerts which Shantalla will give this month in Holland
are sold out in advance." "Shantalla pose an interesting side of the Celtic
coin - a band made up of four Irish musicians and one Scottish singer
based in Belgium. Huge in mainland Europe and making a commendable niche
in the USA where they have yet to go, and providing one of the most exhilarating
surprises in Celtic circles of recent years. Compared to their debut album
Shantalla released in 1998, their follow up Seven Evenings, Seven Mornings
is the acid test as to whether they can maintain the level of musical
dexterity and develop on their impressive opening card. Wisely, Shantalla
have sat down, taken a long hard look at their approach and raison d'etre,
emerged with an album that is both exhilarating, and thought provoking.
The tight front line of fiddle, uilleann pipes, and accordion handled
by Kieran Fahy, Michael Horgan, and Gerry Murray leads the way musically
but there is much subtle ducking and weaving within the enthusiastic ensemble
sound. The Journey by Train and Spered Hollvedel sets offer prime examples
where mood, texture, and tempo are all important and the final all-out
assault even more impressive on its arrival. The vocal tracks also benefit
from a shot of fresh song material and a thoughtful approach and John
Riley and Erin Go Bragh find singer Helen Flaherty efficiently backed
up with concrete full bodied backings and Flaherty is equally impressive
on the brief accapella cameo John Anderson. Throughout Seven Evenings,
Seven Mornings a fine balance between excitement and sensitivity is achieved,
and Shantalla has both the musical ability and imagination to create even
better work than this excellent album." "Four Irish musicians and a Scottish singer created
this group in Belgium, their place of residence, a few years ago. A first
CD was followed by numerous tours and brought Shantalla deserved international
recognition. Seven Evenings Seven Mornings is their second disc and confirms
that we have here a group capable of competing with the best. Moreover,
since the beginning they have often been compared with the Irish Bothy
Band - a flattering comparison. It's true that Shantalla has an intelligent
sound and arrangements that demand admiration. One of their great assets
is their singer who has nothing to envy in any of her peers, Scottish
or Irish. Helen Flaherty is capable of injecting the breath necessary
to make a ballad live, without histrionics or sophisticated demonstrations.
The rule for being a good traditional singer is in fact simplicity, the
sense of reality, a complete understanding of the repertoire and a good
feeling for the choice of this repertoire. Helen has all of these qualities.
She has the gift of choosing intelligent songs, rooted in the history
of the Scottish and Irish people but also in their present and their diaspora.
Around her, the four musicians construct an edifice of complete solidity.
The base is a bed of guitar and bouzouki strings, reinforced by the bodhran
played by Helen - the rhythm is at the same time rich and subtle. On top
of it, the violin, accordeon, uilleann pipes, flutes and tin whistle give
it a joyful heart, pulling back and pushing forward around one another
and responding to each other in extreme jublilation. And the disc is perfectly
balanced between always welcome songs and instrumental pieces where we
find vigorously stirred jigs, reels, Breton pieces, slow airs and originals.
Pleasure and intelligence." "The songs and tunes alternate throughout, and there's
plenty of imagination in the arrangements, making this a very varied recording.
Helen Flaherty's voice has the power and precision required by Burns lovesongs
and traditional ballads. Her versions of Erin Go Bragh and Glenbogie are
particularly fine, and The Fisherman's Wife is a great song which is new
to me. Shantalla have mastered the art of clear delivery with no distracting
arrangements, and they also have an endearing habit of tacking a nice
wee tune on the end of a song. The instrumental sets are lively and entertaining,
with plenty of the band's own compositions and some great combinations
of tunes. The second set of jigs is a cracker, and I was equally taken
by the Breton hymn with its pair of Gerry Murray reels. Having two multi-instrumentalists
means they can field several line-ups, but the core sound of pipes and
fiddle is still there: Kieran Fahy's bow and fingers are spot on every
time, and Shantalla really come alive whenever Michael Horgan squeezes
his bellows. Overall, this is an excellent album. Shantalla have shown
us they can produce first class music and plenty of it. Well worth a listen."
"The Irish-Scottish group based in Belgium has reached
full maturity. Their latest CD stands out due to the quality of the arrangements
and the eclectic choice of tunes. An unusual melody in the set of reels
'Paddy Ryan's dream', an inspired arrangement in the song 'Glenogie',
a magnificent air on the violin 'O'Carolan's Dream', a Breton hymn made
popular by Alan Stivell... The magic of the flutes and uilleann pipes
of Michael Horgan, the warmth and finesse of Kieran Fahy's violin, the
high voltage piano accordion of Gerry Murray, the captivating voice of
Helen Flaherty, and the very effective support of Joe Hennon's guitar:
All these qualities combine to make Shantalla a group that is out of the
ordinary. We find a nod in the direction of Belgium ('The Road to Wezembeek'),
and the sleeve notes are very detailed. Nothing more to say." "Shantalla's second album looks set to establish
them as a major new act. There's a tasteful selection of tunes, some originals,
some quite well-known, but all tightly arranged and exectuted. The songs,
sung by Scotland's Helen Flaherty, include compositions by Tim O'Brien
and Karine Polwart, as well as four traditional pieces. The album's most
impressive feature, apart from the tight playing, is their original identity.
They don't sound like any other band I can think of." "Altan, one of the most influential traditional
Irish bands, was undoubtedly the role model for Shantalla, who in atmosphere
and style (and definitely also in quality) tread in the groups' footsteps.
Where Altan is pure Irish, Shantalla have a Scottish singer, Helen Flaherty.
You could not get purer and the beauty is remarkable. Listen to how lovely
the voice is on 'John Anderson' where we hear her unaccompanied. 'John
Riley', written by Tim O'Brien and Guy Clark, has American blood but is
perfectly at home with Shantalla. Great instrumental and vocal interchanges,
songs are mixed together with jigs and reels. There are Breton influences
worked into 'Hymns and Reels'. Songs such as 'Fisherman's Wife' and 'The
Dreadful End of Marianna for Sorcery' make every lover of the art of singing
shiver. The informative sleeve is also sublime. The history of all the
songs and tunes are there in three languages, English, French and Dutch.
I can recommend from the heart a concert by this band, as well as this
CD." "What a debut that was, the self-titled first album
from the exiled-in-Belgium Shantalla. Four Irish musicians and a Scottish
nightingale, who made a highly successful attempt to rescue Celtic folk
from the claws of new age and line dance. A pity that we had to wait three
years for this follow-up, which happily maintains the high standard effortlessly.
Lots of jigs and reels, lovely adaptations of traditional songs, a contemporary
song and two beautiful ballads - the edge which Shantalla have over their
instrumental competitors Lunasa. The surprise is gone but the magic remains."
"The singing of Helen Flaherty on "John Riley",
"Erin Go Bragh" and "Glenogie" equals or surpasses many of her well-known
contemporaries and the backing is also remarkable. Instrumentals such
as the memorable O'Carolan's Dream demonstrate well that it is not only
the singing that is the focus for these Irish Belgians or Belgian Irish,
and overall we can say that there is not a weak moment on this recording
With this kind of class they look set to surpass the success of the first
album."
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