Susana Seivane Hoyo was born August 25, 1976 in in Barcelona, Spain. She is the legitimate heir of a lineage of bagpipe craftsmen: the Seivanes. Her father is a bagpipe maker and her grandfather Xosé Seivane is one of the remaining old pipers still alive who together with Ricardo Portela or Moxenas (both deceased) formed part of one of the most important generations of Galician pipers, becoming masters and guides for today’s finest pipers.
Susana’s father, Alvaro was living in Barcelona, studying and making bagpipes for people in Galicia, Madrid and abroad. After ten years in Barcelona, the Seivanes returned to their Galician homeland.
Seivane’s style of playing, typical of “inland” pipers – the prestigious pipers from Fonsagrada, won her the respect and admiration of the piping world and traditional musicians in Galicia. This brilliant “inland” style, a tempered playing style, present in her music, shows a woman who has synthesized the most modern interpretive techniques like no one else with the “enxebre” style of the old pipers.
Susana surrounded herself with a group of young musicians that brought freshness and energy to her live performances that reproduces her albums. Her first recording was produced by Rodrigo Romaní, one of the founders of the legendary Galician folk music group Milladoiro.
Her band is not a conventional one. She uses instruments like bouzouki and guitar. Seivane plays traditional material although she also composes a few originals.
Rory Campbell is widely regarded as one of Scotland’s finest pipers and tunesmiths. Rory was a cornerstone of Deaf Shepherd’s sound since its earliest days. Like his sister Marianne, he was encouraged into music from childhood learning first from his father Roddy, a noted piper and Gaelic singer, then in pipe bands adding the whistle to his repertoire en route.
As well as his work with Deaf Shepherd, Rory has performed with The Big Spree, led by champion piper Fred Morrison, the Scottish supergroup Caledon and as part of the Uncharted Territory project, a highly successful 1998 collaboration between jazz and folk musicians.
Other recordings include his 1996 solo debut and Field of Bells with Deaf Shepherd colleague Malcom Stitt in 1998. Their recording Nusa was hailed as one of the most unique recordings of the year. The album features drums and percussion from Donald Hay bass from Neil Harland and DJ Bryan Jones on decks.
Rory is also a member of another leading contemporary Scottish outfit the Old Blind Dogs and continues to juggle his commitments to both bands. He is a prolific composer and published his first book of original tunes in November 1999.
Field of Bells (KRL, 1999)
Magaid a Phipir – The Piper’s Whim (KRL, 2000) Nusa (Vertical Records, 2003) Intrepid (Vertical Records, 2007)
Mercedes Peón who was born in La Coruña (Galicia, Spain) in 1967 has dedicated many years to recovering traditional music in her native Galicia and to teaching it in town schools and cultural associations. She has pioneered the formation of various female groups of singers and tambourine players.
Peón has also fronted several prestigious musical bands in Galicia and hosted a section about early Galician music on the local TV show Luar (Homeland).
As a music researcher, she published a book by installments titled Raiceiras (Roots women) that contains part of her field work in collecting songs. Peón has lectured on Galician folk music throughout the world and has received numerous awards for her teaching and her dedication to preserving the Galician tradition. “Ever since I was fortunate enough to fall In love with the songs of the people of Imense (a small town on the Galician “Death Coast”) I have spent years searching for those tunes that only the eldest among us can still remember because much as we may regret it over these last generations the oral transmission chain has been broken both here and In most of the world.”
The multitalented artist runs a record label called Discotrompo that promotes Galician traditional and folk music. Peón has also organized several festivals among them the traditional music festival for the Federation of European Cultural Associations and another called “Galicia Terra Unica”.
As a performer, as well as an accomplished singer, she is also a master of Galician bagpipes and of several traditional percussion instruments. Peón was awarded the special jury award in the Cídade Vella festival in Santiago de Compostela, the prize tobest singer and bagpipe performer at the Santiago de Compostela Folk Days and the Macallan award for Galician pipers at Lorient’s Festival Interceltique.
Peón has performed at many festivals throughout the world and she appeared as a guest on recordings and in live performances by artists such as Xosé Manuel Budiño, Manu Chao and Carlos Núñez.
Isué was her first solo album split between arrangements of traditional pieces and her own multicultural original compositions featuring a wide array of traditional Galician and international musical instruments combined with modern instruments. “… these years have witnessed the birth of a new phenomenon more commercial than cultural called “Celtism” which has assimilated apart from tunes from the Northern territories the pieces that were being composed by new Galician artists who took our traditional music as a springboard.
“The fact is that by chance or design during this time I have had the pleasure to discover music from other ethnic groups especially from North Africa and find in them so many affinities both in rhythm and expression with our melodies that I have good reason hr wanting to look further south (or North if we refer to Africa) for musical connection and communion. Nevertheless I plead “not guilty” if this new album is wrongly categorized (though everybody is free to pigeonhole it as they wish).
That said I myself must face the ever-complicated task of defining what this new venture into the realms of music means for me. I humbly consider that this record made with all my loving care expresses many of the things I have learned and my knowledge of the Galician oral tradition (no doubt my understanding of it and my means of expression are the channel for these feelings I let fly from deep within me to whoever wishes to share them).
I should also stress that in order to place it stylistically it could be defined as fusion music for as I said before current trends move in that direction mixing modernity with the oldest sounds and creating somewhat paradoxically totally innovative sounds with intimate harmonies that do not leave aside the frenzied rhythm of Galician traditional patterns such as “ribeiranas” and “empunadas”.
To cut it short these are sincere and complicated melodies matching oldness with modernity and so on. But above all the work is infused with passion and love. My advice therefore is that you listen to ‘it and then say what you will.”
Piper Xosé Manuel Budiño was born in Moaña, Spain. He is the son of a fisherman, a common profession in Spain’s northwestern reion of Galicia. Although none of his family members were musicians, Budiño soon took an interest in the traditional music that his parents played at home.
In his hometown of Moaña there were also many choir groups and bagpipe bands that he listened to. Budiño’s first instrument was the flute, which he learned how to play in school at the age of seven. In addition to studying classical music, the kids also learned Galician traditional music.
A few years later, Budiño started to play the gaita (Galician bagpipe), performing locally and throughout the region with a local group. What started as a group of friends playing bagpipes eventually became a bagpipe school, Escuela de gaitas Semente Nova (New Seed) de Moaña, which is now run by the city government.
A young Budiño played at his first festival at the age of 15, in Lorient (Brittany). He knew then that he wanted to be a professional musician. He started to play at competitions for solo pipes in Galicia and won some awards. His success led to his selection as representative of Galicia at the Macallan Trophy at the Lorient Interceltic Festival where he won the master bagpiper award several times.
In 1991 he formed Fol de Niu together with musicians that came from the fields of folk and jazz music. The progressive folk band lasted four years until the band members decided to go in separate ways. At that time, Budiño formed his own band.
His first album, Paralaia, came out in 1977. Budiño invited one of his idols to play in the album, Breton musician Jacky Molard. There were other Breton and Spanish musicians that participated in the recordings. The album brought immediate critical acclaim and Budiño was praised as one of the new innovators of Galician music.
To record Arredor (Around), Budiño traveled to Glasgow (Scotland) where he worked with producer Donald Shaw.
* Paralaia (Resistencia, 1997)
* Arredor (Virgin Music Spain, 2000)
* Zume de Terra (Boa, 2004)
* Home (Falcatruada, 2007)
* Volta (2010)
* Sotaque (Fol Musica, 2013)
* Paralaia 20 Aniversario (2017), book + CD
Pevarlamm showcases the talent of one of the finest bands in the Breton music scene. The band is led by virtuoso multi-instrumentalist and composer Konogan an Habask. He plays bagpipes, bombard, uilleann pipes and low whistles.
Deltu is a fascinating voyage through the various European cultures connected to Celtic music. Pevarlamm perform original pieces inspired by Breton traditional music and jazz as well as folk tunes and dances from Bigouden and Pourlet in Brittany and other parts of Atlantic Europe: Ireland, Galicia (Spain) and Asturias (Spain).
The album lineup includes Konogan an Habask on bombard, binioù, uilleann pipes, and whistles; Elsa Corre on vocals, kayamb (flat percussion instrument from the Mascarene Islands in the Indian Ocean), pandereta (Galician tambourine); Gabriel Faure on violin, mandola, and viola d’amore; Jérôme Kerihuel on drum set, dohl, and percussion; Thibault Niobé on guitars and bouzouki; and Erwan Volant on bass. Guest musician: Patrick Péron on Hammond organ.
Deltu is a superb Celtic music album beautifully-crafted by Breton masters Pevarlamm.
Madrid, Spain – Susana Seivane, one of Spain’s finest bagpipers, has a new recording, Mares de Tempo. The album includes a music video and DVD with images of her concerts.
Mares de Tempo features the same collaborators that have accompanied her during the last few years, as well as some new ones. Her first intention was to combine the interpretation of
traditional Galician with current musical trends.
Susana Seivane ventures to sing on five of the twelve new tracks, including a hidden track.“Its been a project that I have wanted to do with my musicians who have accompanied me and who have toured with me throughout these last two years,”Susana says. These are: Brais Maceiras (accordion), Xurxo Iglesias (bouzouki), Carlos Freire (percussion), Teresa Saias (drums), Roberto Somoza (sax and flute) and Quique Alvarado (sass). In addition, Mares de Tempo features notable collaborations by Xavier Paxariño (flutes); Guadi Galego, singer and instrumentalist from Berrogüetto; El Colectivo de Música Tradicional Ruote de A Coruña, (The Traditional Music Collective Ruote from La Coruña), which performs an exceptional version of Maneo, first track on Susana´s first album; Rodrigo Romaní (Milladoiro) composer and harpist; and percussionist Viascón, from
the “Jarbanzo Negro” school of learning, who plays the saw (an unusual instrument) and trumpet.
On March 20th, Susana Seivane performed at The Paris Celtic Night in front of 52.000 people. Her huge success was recorded in the French press. This same show will be presented shortly in Nantes, broadcast by Radio France and television. Susana will be returning to the Lorient Festival and the USA to perform in Michigan later this year.