Les Grands Hurleurs play music that is profoundly rooted in tradition and diverse influences as well.
Since its beginning in 2009, Les Grands Hurleurs have merited a genuine reputation, gathering a lot of experience in countless Quebec venues, international stages (Czech Republic, France, Germany, Spain, Switzerland, and the USA) and on major events such as 2017 Canada Day in Victoria and 2017 Canada Summer Games Winnipeg.
Since 2017 they’ve been in the official showcase selections at Bourse Rideau 2017 (Quebec), FICG 2017 (Granby, Quebec), Contact East 2017 (Cape Breton) and Folk Alliance International 2018 (Kansas City, USA).
Les Grands Hurleurs have achieved the rare accomplishment of getting a Felix Award (Francophone Canada’s Juno award equivalent) for three albums.
On their 2018 album, Chouïa, traditional music intertwines with classical, Manouche, electronica, and folk music.
Band members in 2018 included Nicolas Pellerin on vocals, fiddle, foot-tapping; Stéphane Tellier on vocals, guitar, mandolin; and Simon Lepage on electric and acoustic bass.
Born in Chisinau in 1981, Moldova, Sergiu Popa is a member of a well-known Roma (Gypsy) musical dynasty in his country. He, like several generations before him, is a virtuoso accordionist who plays not only traditional folk and Gypsy music of Eastern Europe, but is classically trained as well.
He studied at the Stefan Neaga College of Music in Chisinau (the capital of Moldova), and completed two years at the Conservatory of Chisinau before emigrating to Canada in 2002. His first musical performance in Canada was at the Drummondville Festival Mondial des Cultures, where he performed with Vatra, a Moldavian dance troupe.
In Canada, during the short time he has been here, he has been distinguishing himself as a unique, versatile and highly talented artist. He has continued to perform traditional Eastern European music with other distinguished musicians such as Sergei Trofanov, Carmen Piculeata (violinists), Romeo Vaduva (pan flutist), Vladimir Sidorov and Marin Nasturica (accordionists), while expanding his repertoire with renowned jazz singer Jeri Brown. He has accompanied Angele Dubeau’s La Pieta (performing at the Lanaudiere and Mont Tremblant Festivals in 2003 and 2004) and is sought after by the Cirque du Soleil for a possible future collaboration.
During the summer of 2005, he led a full ensemble of musicians and dancers for an outdoor public performance at the Place des Arts concert series, Les Midis du Monde. The ensemble, named Sergiu Popa and Moldomania, performed traditional music from Moldova for an audience of several hundred people.
Sergiu was featured at the 1st edition of the Romani Yag Gypsy Festival in Montreal, where he gave a workshop in Gypsy style accordion, performed and participated in the premiere of a musical theatre production called Romano Drom. He was also featured as a solo performer in the 2005 edition of Printemps des Bretelles, an accordion festival in Montreal.
In 2006, Sergiu and his ensemble performed as part of the ?soir?e d?couvertes? at the 2006 edition of the ?Festival des Musiques et du Monde?, organized by Musique Multi-Montr?al. At the festival, he was nominated for the ?toiles Galaxie prize from Radio-Canada, for up-and-coming artists.
Sergiu established a reputation for developing creative, tasteful and innovative arrangements and accompaniment; this despite having been deprived of exposure to the work of great contemporary artists from the western world (until quite recently access to music from outside the former eastern bloc was highly restricted in Moldova). He believes that traditional music has its place in the future, and that young people will embrace it as long as it continues to evolve and reflect the spirit of a living culture.
His goals are to respectfully carry on the tradition which he has inherited from his father, and also to have the opportunity of collaborating with other gifted and progressive musicians who can help him expand the boundaries of that tradition, fusing with jazz, Latin and other international influences.
Jeremy Dutcher is a Canadian vocalist and musicologist. He is well-known for his album Wolastoqiyik Lintuwakonawa, that was a shortlisted finalist for the 2018 Polaris Music Prize.
A Wolastoqiyik (Maliseet) member of the Tobique First Nation in New Brunswick, Dutcher studied music and anthropology at Dalhousie University in Halifax. He recorded Wolastoqiyik Lintuwakonawa after researching old archival recordings of traditional Maliseet songs at the Canadian Museum of Civilization, many of which are no longer being passed down to contemporary Maliseet youth. Many of the album’s songs also include samples of the original recordings as part of the backing tracks.
Fiamma Fumana were formed in 1999 by three people who shared a love for the musical tradition of Northern Italy in general and their native Emilia Romagna in particular, but had otherwise very diverse backgrounds.
Alberto Cottica, accordionist guitarist and pianist, has been active in the Italian folk-rock music scene, for over ten years as co-founder of the highly successful (well over 350:000 albums sold) Modena City Ramblers; Marco Bertoni is an electronic musician and record producer who cooperates regularly with top-rank Italian deejays such as Santos; Fiamma Orlandi, at 22, was then an absolute beginner who had been brought up musically in the Emilian countryside, by her mother and grandmother. Her singing is a unique blend of traditional style and modern sensitivity.
The elements had been carefully selected and balanced: Fiamma Fumana was to be a tribute to the tradition of female vocals of Emilia and Italy in general (like the choirs of mondine, the rice gatherers who were all young girls), and that tradition was to be revitalized by a new generation and its musical culture: hence, electronica, the most natural musical expression for Fiamma and people her age in post-industrial and affluent Italy. The result was an intriguing blend of old Italian dance tunes played to new Italian dance grooves, traditional ballads and state-of-the art electronica.
Fiamma Fumana’s first album, 1.0, was released in 1999 in Italy by Mescal and soon traveled beyond national borders. Universal Music Japan engineered a Japanese release in 2000, and Omnium Recordings an American/Canadian/Mexican one in early 2001, to a wide acclaim. In the mean time, Fiamma and Alberto had built up a permanent (and predominantly female and very young, consistently with the attitude of the project) live band. This includes the versatile Lady Jessica Lombardi (Emilian bagpipes, flutes, electric bass) and Italian-Eritrean female dj Medhin Paolos (loops and samples). The band was invited to WOMAD 2001 in Palermo; to the CMJ Music Marathon in New York in the same year (the event cancelled because of the Twin Towers tragedy); to the Detroit Festival of the Arts in 2002 and to many festivals and gigs in Italy and abroad.
In September 2003 Fiamma Fumana signed to American label Omnium Recordings and released their second album, Home. The new release is even more focused on northern Italian roots than the former one (almost all of the 11 tracks are traditional, and traditional artists of the old generations feature prominently), but it is also more extreme in sound, with a harder, more live approach to electronica. The album was accompanied by a contract with an agent in the USA, SRO Artists, and an American tour, which saw Fiamma Fumana perform on the most important American world music festivals and clubs of the period.
1.0 (Omnium Records, 2001) Home (Omnium, 2003)
Contatto (Omnium Records, 2004) Onda (Omnium Records, 2006)
Donal Clancy was born in Canada in 1975 and later moved to Ireland. He has been involved with the best bands in Irish music, starting out in Clancy, O’Connell, and Clancy with his father Liam and his cousin Robbie O’Connell, helping to found the band Danú and them moving on to become part of Eileen Ivers Band before taking a pivotal spot playing guitar with one of the hottest Irish and Irish American bands around, Solas. When it was time to make a change, he found his old band Danú in need of a guitar player again, and that’s still one of his main gigs.
Loga Ramin Torkian was the guitarist and musical director of Axiom of Choice. Born in Iran, he moved to the United States after the revolution. When asked to speak about his musical background, he says, “The path to defining one’s music is never straight. I reflect upon the day I left my flamenco guitar teacher – disheartened by his truthful comment that after practicing for years, the only way to bring myself to professional standards would be to move to Spain, otherwise my playing would always have an accent.
I knew I could not leave the United States for years to come and I felt I had reached an end. I did not realize then that I was about to discover something very unique within myself.” Loga spent the next three years studying the tar, a Persian lute and joined for a short period a traditional ensemble. But he quickly learned that he could not satisfy his creativity within the framework of traditional music. It was then that he decided to create the quarter-tone guitar to which he adapted many of the tar techniques and formed Axiom of Choice, which served as a common ground for other expatriates to work with him. “As an emigre artist, I have chosen to express myself in music that is not bound by the confines of traditional Persian music. Yet, my music in its very depth comes from that tradition,” said Loga who continues to use the radif (Persian repertoire) and Persian melodies as the source of his compositions. Many master musicians have welcomed his approach.
Loga’s unique approach to compositions is influenced heavily by years of playing for Masters Theses concerts at U.C.L.A. and by his education in Mathematics. “Dancers,” he says, “count to subdivide the space, not time! In mathematics one defines the axiom before articulating any theory. I find both principles to be of great help when I am composing. I also believe that every composition must have a concept or principle, and should not just be a direct expression of the subconscious. Often I use visual images to inspire and –assist musicians in the creation of these compositions. To me, musicians are like actors on stage. They bring to life through music their personal interpretations of images, feelings, ideas, and that to me is very respectable.”
Loga’s extensive travels around the world have been essential in developing his great sensitivity towards other cultures. He believes that any music originating from a specific tradition that crosses over to other cultures must remain equally convincing for the traditions that it involves.
In 2005, along with vocalist Azam Ali and programmer/producer Carmen Rizzo, Loga founded the best-selling world music group Niyaz. Blending medieval Sufi poetry and folk songs from Iran, the Indian sub-continent and Turkey, rich acoustic instrumentation, with modern electronics.
Born in Tehran in 1976, Kiya Tabassian received his initial training in Persian music from Mehrdad Torabi at the Bahârlou Institute in Tehran, from Reza Ghassemi in Paris and Kayhan Kalhor in Montreal. He has since continued to develop his instrumental skills independently. He has also studied composition at the Conservatoire de Musique de Montréal with Gilles Tremblay and Michel Gonneville.
In 1989, he founded the Tahmassebi Ensemble. In addition to directing the group, he contributed several compositions to its repertoire. The ensemble gave several concerts throughout Iran and performed on the Iranian national broadcasting network. In 1990, upon his arrival in Canada, he co-founded the Darvish-Khan Trio, an ensemble devoted to classical Persian music. He is also the co-founder of Constantinople, an ensemble that specializes in medieval and Renaissance music, and Nowrouz, which is devoted to classical Persian music. Both ensembles have performed in a number of Canadian cities.
Kiya has collaborated with the Canadian Broadcasting Corporation (CBC) on several occasions as a performer and special co-host. In addition, he performs regularly throughout the U.S., France, Greece and Mexico, both as a soloist and in collaboration with other musicians.
In 2000, he was composer in residence for Musique Multi Montréal with a project entitled “Poussières d’étoiles.” Along with his brother Ziya, he recorded his first CD of Persian classical music titled Garden of the Memory on the XXI-21 label. He has also recorded several CDs with Constantinople on the ATMA label.
Since March 2002, he has been an active member of the MediMuses project, as a member of the research group on the history of Mediterranean music.
Kiya is a member of the Conseil Québécois de la Musique. He has received several grants from the Canada Council for the Arts and the Conseil des arts et des lettres du Québec. Kiya has frequently been invited to give lectures and presentations on Persian music.
A talented singer-songwriter, versatile musician and consummate Epicurean, Yves Lambert is perhaps best known as a founding member of Quebecois folk supergroup La Bottine Souriante, with whom he played thousands of concerts and television appearances all over the world, from Quebec and the rest of Canada to the US, England, Scotland, Ireland, France, Spain, Italy, Denmark, Sweden and Finland.
La Bottine Souriante’s 11 albums, in which Yves participated not only as a musician and vocalist but also as co-producer and researcher, have sold more than 500 000 copies worldwide (some going gold and platinum), and have won Felix Awards, Juno Awards and various other distinctions.
In 2002, he launched his solo career with the album Les vacances de M. Lambert (Mr. Lambert’s Holiday). While remaining a leading figure in traditional Qu?becois music, he has sought to promote dialog with the music of other cultures the world over.
Y’a ben du changement, with La Bottine Souriante (Mille Pattes Records, 1978)
Chic ‘n Swell, with La Bottine Souriante (Green Linnet Records, 1982)
La Traversée de l’Atlantique, with La Bottine Souriante (Green Linnet Records, 1986)
Tout comme au jour de l’an, with La Bottine Souriante (Mille Pattes Records, 1987)
La Mistrine, with La Bottine Souriante (1994)
Les Vacances De Monsieur Lambert (Mille-Pattes, 1998)
Récidive (La Pruche Libre Productions, 2004) Le Monde À Lambert (La Pruche Libre Productions, 2007)
Bal À L’Huile (La Pruche Libre Productions, 2009)
Lambert dans ses bottines avec Socalled (Disques Musicor, 2015) Laissez courir les chiens (La Prûche Libre, 2015)
The McDades At the heart of The McDades are three siblings: the fiddle playing Shannon, Solon on bass, and youngest brother, Jeremiah, a multi instrumental virtuoso on whistles, saxophone, fiddle and flute. The McDades are joined by vocalist and guitarist, Andy Hillhouse and multi-genre percussionist, Francois Taillefer.
The McDade’s sound is immersed in the spirit of improvisation featuring both energetic instrumentals and sensitive vocals performed in English and French. The McDades Celtic rooted music fuses the spontaneity of jazz improvisation and infectious global rhythms.
The McDades have been recipients of the 2007 Juno Award Winners for Best Roots/Traditional Album Group, winners of the 2007 Independent Music Award for Best World Album Traditional and winners of the 2006 Canadian Folk Music Awards for Best World Group and Best Instrumental Group.
Midwinter (2001) For Reel (Free Radio, 2002)
Noel (2004) Bloom (Free Radio, 2006)
Winter Rose (2011)
Guitarist and bouzouki player Simon Beaudry is from Saint-Côme, Québec. Simon grew up surrounded by traditional music. His maternal grandfather is well known in the area for his repertoire of songs and his paternal grandfather Joseph Beaudry (Tido) is a fiddler. Simon’s father sings and plays guitar and his brother Eric performs with La Bottine Souriante.
Simon has been playing and singing since the age of fifteen and as well as being influenced by the traditional music of Quebec .