La Bottine Souriante first appeared on the Quebec music scene in 1976. This remarkable group has released in just twenty three years ten albums; three are certified Gold (meaning that over 5 copies have been sold) and one is Platinum (over 1 sold). Altogether they have sold over half a million albums! On top of all this the group has won dozens of awards and headlined festivals around the world. La Bottine Souriante is no longer simply a Quebecois/Canadian musical phenomenon. The group and their explosive sound have crossed borders the world over and left in their wake countless enchanted audiences. The group has developed a distinctive sound all its own that successfully allies its homage to tradition with a dash of jazz, salsa, and pure folk while at the same time perfectly representing the symbol of vitality and pride of its mother culture. In addition the music identifies strongly with the current World Music movement.
La Bottine has developed an exceptionally tight cohesive sound with a music that celebrates. These two elements music and celebration characterized by pulsating rhythm breathtaking sound and exuberant spirit have been inseparable since time immemorial. And it is directly into this turbulent energy that La Bottine Souriante sweeps its rapturous public.
Comprised of nine solid musicians traditionally-rooted group members include : Michel Bordeleau (foot-tapping drum mandolin fiddle guitar vocals); lead singer Yves Lambert (button accordion harmonica); and Andre Brunet (fiddle guitar) with jazzmen Regent Archambault (acoustic and electric bass) and Pierre Belisle (piano piano accordion) taking up the swing. Since 1990, a four-piece brass section has added an even more exciting dimension to La Bottine’s incomparable sound featuring Jean Fr?chette (saxophone and arrangements) Robert “Bob” Ellis (bass trombone) Andre Verreault (trombone) and Jocelyn Lapointe ( trumpet).
La Bottine Souriante took part to numerous Folk Festivals around the world among them Tonder Festival and the prestigious WOMAD. The group appears on many compilations notably with Irish Paddy Molony and The Chieftains (Fire in the Kitchen). After a worldwide deal with EMI La Bottine Souriante is developing an international career.
Aiming and encouraging the inspiration of traditional music La Bottine Souriante in 1993 created their own company. Les Productions Mille-Pattes is a leader in the transmision of traditional music in Quebec and a example to be followed for a younger generation of musicians. The label Mille-Pattes proudly represents groups such as La Bottine Souriante Michel Faubert Les Charbonniers de l’Enfer Yves Lambert Les Batinses Daniel Roy Entourloupe le trio Marchand-Ornstein-Miron as well as Danielle Martineau & Rockabayou.
Y’a ben du changement (1978)
Les Apousailles (198)
Chic ‘n Swell (1982)
La Traversee de l’Atlantique (1986)
Tout comme au jour de l’An (1987)
Je voudrais changer d’chapeau (1988) Jusqu’aux p’tites heures (1992)
La Mistrine (1994)
En spectacle (1996)
Xieme (1998) released in the United States as Rock ‘n Reel
J’ai jamais tant ri (2003) Appelation D’Origine Controlee (Borealis Records, 2012)
The Duhks is a group of musicians and singers from Winnipeg, Manitoba, in the Canadian prairies. The first lineup included Leonard Podolak on banjo and vocals; Jessee Havey on lead vocals; Jordan McConnell on guitar; Scott Senior on percussion; and Tania Elizabeth on fiddle and vocals.
Since 2003, The Duhks’ music was hard to define. Some called it “contemporary acoustic,” “progressive soulgrass,” and rock-folk fusion. The group’s fascinating fusion appeared on the band’s self-titled CD, The Duhk (Sugar Hill).
With the album The Duhks, the band won widespread acknowledgement as a rising neo folk-rock band. The band won a JUNO award (Canada’s top music award), and successfully toured the world.
Environmental issues are a passion for The Duhks, inspiring the band to create The Duhks Sustainability Project (www.greenduhks.com) in October 2007. Led by Tania Elizabeth, The Duhks goal was to “tour on as sustainable a basis as possible; fueling our vehicle with Biodiesel, supporting local organic farmers wherever we go, wearing sustainable eco-conscious clothing, using earth-friendly shampoos, soaps and cosmetics and offsetting remaining CO2 emissions with carbon credits.”
“As a band, it’s something we feel very strongly about,” said founder and banjo player Leonard Podolak. “We just want to reduce our carbon footprint as much as humanly possible.”
Fast Paced World was released in 2008, recorded in Jay Joyce’s Nashville studio. “Jay’s basement studio was like something out of the Star Trek Enterprise,” said Podolak. “Joyce was very open to our ideas and very easy to work with. I also think he learned as much from us as we did from him about combining the acoustic and electric elements of our songs in a studio setting.”
In 2016, The Duhks announced that they would no longer be touring.
Loreena McKennitt was born and raised in Morden, Manitoba, a town of Irish, Scottish, German, and Icelandic inhabitants in the middle of the Canadian prairies. The most vigorous Highland dancer in her rural community, she was raised by her mother, a nurse, and her livestock-trader father. “It was a very modest community. People came from immigrant stock. Survival was the order of the day and in some ways broad cultural exposure was limited. Although my family’s ancestors on the most part came from Ireland, there was very little overt ‘Celticness’ to my upbringing in the sense of music or storytelling.”
After an adolescence spent in Morden, McKennitt was eager to move into a wider world. She was first exposed to the Celtic folk boom in a Winnipeg folk club. “The first step for me was Celtic music. The whole sound drew me in an almost instinctive way and it became this vehicle to pursue history in a way I could never have imagined,” she recalls.
In more cosmopolitan Winnipeg, she briefly studied to be a veterinarian, before moving on to finally settle in Stratford, Ontario, where her composing and performing skills were soon appreciated in the lively scene around the city’s internationally renowned Shakespearean Festival. McKennitt still makes her home there, living in a rural farmhouse.
Already in love with Yeats and the music of Breton harpist Alan Stivell, Planxty and the Bothy Band, McKennitt could sense the lyricism of Irish folk music. When she made her first journey to Ireland in 1982 she was to find a similar lyricism in the contours of the land and the spirit of the people.
Back home, she put her newly stirred Celtic fervor into an interpretation of Yeats’s “The Stolen Child.” Inspired by a D.I.Y book called How to Make and Sell Your Own Recording, by Diane Sward Rappaport, she set up her own record company, Quinlan Road, in 1985, and recorded Elemental, a nine-song cassette. She ran off copies and began selling them from her car while meeting the public on the most immediate level, as a busker.
As McKennitt’s mailing list grew, word of mouth in cafés and bookshops built her a significant audience. Her growing audience empathized while McKennitt explored the traditional canon, always seeking the reverberation that would make an ancient voice harmonize with her own. She’s particularly proud of tracking down “Bonny Portmore,” included on The Visit. An obscure ballad mourning the loss of ancient British stands of oak, once worshipped by pre-Christian tribes, it has a contemporary relevance to today’s fight to save old-growth forests.
McKennitt followed Elemental by cutting a seasonal perennial in the Christmas carols of To Drive the Cold Winter Away (1987), and made her first steps towards cross-cultural fertilization in the subsequent Parallel Dreams(1989). It was at this time she was commissioned to score music for the National Film Board of Canada’s acclaimed film series “Women and Spirituality.”
A pivotal moment for McKennitt’s evolution occurred in 1991 in Venice, Italy, at the largest ever exhibition and collection of international Celtic artifacts. “Until I went to that exhibition, I thought that Celts were people who came from Ireland, Scotland, Wales, and Brittany,” recalls McKennitt.
Seeing the unimagined riches and variety in the centuries of Celtic art gathered from as far afield as Hungary, Ukraine, Spain and Asia Minor, she recalls, “I felt exhilarated. It was like thinking that all there is to your family are your parents, brothers and sisters, and then you realize there’s a whole stretch of history that is an extension of who you are.” That epiphany transformed McKennitt’s music.
The primeval sounding tambura drone that introduced her next album, The Visit (1992), announced a new direction with its bold, cinematic interpretations of Shakespeare and Tennyson, and an unusually edgy take on the Henry VIII-penned ballad, “Greensleeves.” This process reached a dramatic flowering on 1994’s The Mask and Mirror. McKennitt’s new staging post on the voyage was in Galicia, the Celtic corner of Spain, and then on into 15th-century Spain itself when the cultures of Islam, Christianity and Judaism merged to produce what is still remembered as the Golden Age, a time of profound cultural influence on the evolution of Western civilization.
The distinctiveness of McKennitt’s musical vision is matched by the independence with which she has approached the music business. “I think coming from a farming and rural background gave me the insight into being self-sufficient. You become familiar with creative problem solving. If you want something badly enough, you will roll up your sleeves and start chipping away.”
When McKennitt decided the time was ripe to move toward the industry establishment, she signed a unique deal with the Warner Group for the world. It is a deal which has been very fruitful indeed as her recordings have gone on to sell in the millions in over 40 countries. Beginning with The Visit, Warner distributed her work, while she controlled every aspect of creation and promotion.
Her album The Book of Secrets was conceived over several journeys, including one taken via the legendary Trans Siberian Express, in which the self-managed singer and record company head found the quiet she needed to reflect and prepare the album.. Finally, she had the time to read Dante’s The Divine Comedy, echoes of which appear in the album’s closing track, Dante’s Prayer. “As with the last three recordings, this one is also a document of my own path of exploration through the vehicle of music and history. There are a lot of mechanisms within our contemporary society that seem to dilute and diminish our sense of identity. As a result, I think there is a heightened need to understand who you are, what your roots are, and where they are connected.”
Her seventh full-length studio album, An Ancient Muse, was released on Quinlan Road in November 2006. An Ancient Muse was produced by Loreena McKennitt and co-produced by Brian Hughes, and was recorded at Real World Studios in England. Its nine tracks continue her exploration of Celtic themes on a journey that sweeps across time and musical genres, from the British Isles to ancient Greece and Byzantine- and Ottoman-era Turkey.
Musical collaborators include Brian Hughes, Donald Quan, Hugh Marsh, Caroline Lavelle, Stefen Hannigan, Rick Lazar, Hossam Ramzy, Annbjorg Lien, Nigel Eaton, Manu Katche, Charlie Jones, Ben Grossman, Jason Hann, Tal Bergman, Tim Landers, Clive Deamer, Ed Henley, Haig Yazdjian, Panos Dimitrakopoulos, Sokratis Sinopoulos and Georgios Kontogiannis and percussion ensemble Krotala.
In celebration of the 2008 holiday season, Quinlan Road released Loreena McKennitt’s A Midwinter Night’s Dream. The holiday themed album features eight new songs alongside five tracks from McKennitt’s 1995 EP, A Winter Garden: Five Songs For The Season, that were completely re-mastered for the new release. This holiday collection features an array of influences ranging from Celtic to classical to Middle Eastern. McKennitt’s eclecticism shines through in the mysticism of “The Holly and the Ivy,” the exotic Eastern arrangements of “God Rest Ye Merry, Gentlemen,” the Latin-sung “Emmanuel” and “Noël Nouvelet!” sung in Old French.
McKennitt recorded A Midwinter Night’s Dream at Peter Gabriel’s Real World recording studio near Bath, England following a highly successful European tour. With McKennitt providing vocals as well as accompaniment on the piano, accordion and harp, the record features a diverse instrumentation that includes oud, fiddle, cello, viola, percussion, hurdy gurdy, Greek lyra and Greek lute.
“Not only did I want to recapture some of the frankincense and myrrh in this music,” McKennitt explains, “but the process was a fresh reminder of the diversity of so many traditions when it comes to music of the winter season. The songs are rich with abundant references to the natural world and connections to our spiritual and religious bearings; it is clear that people have used winter as a time of reflection.”
In 2009 she released A Mediterranean Odyssey, a two-disc collection that commemorated Loreena’s 2009 Mediterranean tour and combined newly recorded live performances of audience favorites with previously released studio recordings, all inspired by the tones, textures and rich cultural heritage of the Mediterranean.
The first disc, From Istanbul to Athens, features 56 minutes of concert highlights from the tour, including several songs that have never before been recorded live. It also includes a 24-page booklet with lavish illustrations and photos from the tour.
The second CD, The Olive and the Cedar, consists of 11 conceptualized studio versions of songs personally selected by Loreena from her catalog. The disc focuses on her musical travel writing approach to the studio recording process and her inspiration in relation to the history of the Celts around the Aegean, the Mediterranean, North Africa and the near East.
As a composer, McKennitt has written music for productions at the Stratford Shakespeare Festival in Ontario and the National Film Board of Canada. She has three feature length film scores to her credit and has contributed to several soundtracks for both film and television, the most recent being Disney’s fall 2008 DVD release Tinker Bell.
In 2007, McKennitt was nominated for a Grammy Award and was the recipient of a North American Folk Alliance Award. She has also won two Junos, Canada’s premier music award, in addition to a Billboard International Achievement Award.
As founder of The Cook-Rees Memorial Fund for Water Search and Safety, she has been recognized for her civic and community service, raising nearly four million dollars through the sale of Live in Paris and Toronto to advance water safety education and research. McKennitt has also established The Three Oaks Foundation, a fund which supports cultural, environmental, historical and family groups.
Éric Beaudry was first exposed to traditional Quebec music in Saint-Côme, a village in Quebec’s Lanaudière region. Raised by a family entrenched in music, he began singing and playing guitar at the age of 10.
In 1992, he founded La Galvaude, followed-up later by Ni Sarpe Ni Branche and Norouet. Éric’s passion for music also helped foster an interest in song, which led to several awards including a 2002 Prix Mnémo for his role in producing the album Musique gaspésienne, featuring violinist Édouard Richard.
In 2003, Éric became a member of acclaimed band La Bottine Souriante. Éric’s love of music also spurred a passion for enlightening others and, following the completion of a Bachelor of Arts in pop guitar and jazz, Éric began teaching traditional music at Joliette’s CEGEP régional de Lanaudière in 2002.
Composer, virtuoso fiddler and skilled step dancer Natalie Ann MacMaster was born on June 13, 1972 in Troy, Nova Scotia, Canada. She was raised in a musical family steeped in Scottish heritage.
Natalie began playing at age 9 after having been given a small fiddle by her great uncle. From the early days, she was encouraged by her father and musically influenced by her uncle, Buddy MacMaster, an undisputed master of the Cape Breton fiddle.
Natalie’s career flourished rapidly. From a small beginning playing at dances and concerts in and around Cape Breton to representing Nova Scotia on the world’s stages. Natalie has become a musical ambassador for a new musical generation of Cape Breton musicians. Whether performing with a small format or with her full band, Natalie’s concerts are a dazzling blend of musical virtuosity and lively step dancing.
Natalie’s first three recordings gained major nominations and awards from the East Coast Music Association. In 1992, she won the Roots/Traditional Artist Award. In 1994, her third album, Fit as a Fiddle, earned Natalie the Instrumental Artist of the Year Award. In 1995, she was nominated as Entertainer of the Year.
Natalie’s phenomenal stage presence has led to considerable media attention. She was profiled by various TV shows. In June of 1995, Natalie won over a crowd of 80,000 in Chattanooga, Tennessee, as opening act for Carlos Santana. A broken fiddle string couldn’t keep her down as Natalie continued playing using only her bottom two strings.
Natalie has headlined in cities such as London, Glasgow, Edinburgh, Brussels, and Tokyo. And for several years, she has acted as guest instructor and performer at the world renowned Mark O’Connor Fiddle Camp in Nashville.
In March of 1996, Natalie received a phone call from Ireland’s The Chieftains requesting that she open for them on a four-week tour of the United States. The Chieftains obviously saw something in Natalie that their audiences would soon come to appreciate. MacMaster capably and expertly delivered the goods. The highlight of each performance had to be Natalie joining The Chieftains at show’s end to fiddle and dance.
Natalie’s first two independent recordings, Road to the Isle and Four on the Floor, have each sold in excess of 12,000 copies each … and that’s on cassette only. Her third Indie release, Fit as a Fiddle, racked up sales of more than 30,000 copies on CD and cassette.
In the spring of 1996, Warner Music Canada negotiated a major label deal with Natalie for the album No Boundaries. Produced by Chad Irschick (The Rankin Family, Loreena McKennitt, Susan Aglukark), No Boundaries is exactly that. Natalie’s diversity extends to places her fans could have never imagined. From beautiful classic pieces through ragtime and country music, Natalie continues to step across musical lines. Special note should be made of guest appearances by Cookie Rankin on “Drunken Piper,” Bruce Guthro on “Fiddle &Bow,” and a host of Canada’s best musicians.
In 1997, Rounder Records made No Boundaries available in the United States and also re-released Fit As A Fiddle. The success of these releases led to the re-release of A Compilation in 1998.
A good example of MacMaster’s energy during her live performances was documented in a double album recorded live, released in 2002. The sessions were made at the Living Arts Centre in Mississauga (Ontario) and at an old hall in the woods in rural Glencoe, Cape Breton Island.
Blueprint (2003) was Natalie MacMaster’s first studio recording since 1999’s In My Hands. On Blueprint, MacMaster mixes Celtic, Jazz, and Bluegrass. Special guests include Bela Fleck (banjo), Jerry Douglas (Dobro), Sam Bush (mandolin), and Edgar Meyer (bass).
Natalie MacMaster collaborated with cellist Yo-Yo Ma on the Grammy-winning album “Songs of Joy & Peace” (2008) and artists as diverse as Alison Krauss, Jesse Cook, and Béla Fleck.
Fiddle album One, released in 2015, features Natalie MacMaster and her husband Donnell Leahy. In addition to the familiar Celtic sounds, the album features distorted electric guitars, two players on one piano, and a drum kit made of paint cans and a cardboard box.
In 2016, Natalie MacMaster and Donnell Leahy released A Celtic Family Christmas accompanied by an outstanding group of musicians and their children. The album features classic Christmas songs seasoned with the duo’s style of Celtic tradition. “We have celebrated Christmas in a big way our entire lives and finally have recorded the music,” said Natalie MacMaster.
Natalie MacMaster is a recipient of the Order of Canada. She has won two JUNO and 11 East Coast Music Awards.
Ten Strings and A Goatskin is a superb acoustic music trio from Prince Edward Isle in Canada. The three young musicians play primarily original compositions, along with a handful of traditional pieces, inspired by the Celtic traditions of Brittany, Scotland, Ireland and French-speaking Canada, incorporating modern music elements such as Hammond B3 organ and pump organ.
The three multi-instrumentalists skillfully intertwine fiddle, banjo and other string instruments with irresistible dance beats. The rhythms range from the classic Irish frame drum, bodhran, to Acadian foot percussion and Peruvian cajón.
The album was produced by Leonard Podolak of acclaimed Canadian rots music band The Duhks.
The Ten Strings and A Goatskin lineup includes Rowen Gallant on fiddle, viola, tenor banjo, and lead and backing vocals; Jesse Périard on guitar, pump organ, backing vocals; and Caleb Gallant on bodhràn, foot percussion, snare, cajón, clawhammer banjo, and lead and backing vocals.
Guests include Leonard Podolak on banjo and vocals; Colin Savoie-Levac on mandolin, cittern, foot percussion and vocals; Anna Lindblad on fiddle; Josianne Hebert on vocals; Marie Savoie-Levac on bass and vocals; Sarah Marchand on keyboards and vocals; Béatrix Méthé on fiddle and vocals; Eléonore Pitre on guitar and vocals; and Mark Busic on Hammond B-3 organ and bass.
Auprès du Poêle showcases the work of three talented young musicians who are creating stimulating new acoustic music based on Canadian and European musical traditions.
Trail of Tales (Borealis Records) is the new album by Canadian roots music band The Bills. The band is known for its music of traditional music with contemporary folk music and global beats.
The Bills made the album in scenic Mayne Island, an artists’ community just off the coast of Vancouver Island in British Columbia.
The Bills lineup includes Marc Atkinson on mandolin, guitar, percussion, vocals; Adrian Dolanon- fiddle, accordion, piano, vocals; Chris Frye on guitar, vocals; Richard Moody on violin, viola, mandolin, vocals; and Scott White 0n upright bass, vocals.
Acclaimed progressive folk band Le Vent du Nord, from Quebec, will be touring Ireland and the UK in the next months. Le Vent du Nord is currently promoting its new album titled Têtu (stubborn or obstinate).
On Têtu, Le Vent du Nord perform music rooted in Quebecois tradition combined with new musical ideas. The pieces fluctuate from stripped-down a cappella singing to complex arrangements, including the introduction of a string quartet.
Sunday, May 8 Baltimore Fiddle Fair 2016, Fiddle Fair Marquee, Baltimore, West Cork, Ireland
Tickets – See festival website for details
On Stage 9.00 p.m.
Monday, May 9
The Linenhall Arts centre, Linenhall St, Castlebar,Co Mayo, Ireland.
Tel: +353 94 902 3733 Tickets €16.00
Doors 7:30 p.m.
Tuesday, May 10
Regional Cultural Centre, 46 Port Rd, Letterkenny, Co. Donegal, Ireland
Tel: +353 74 912 9186 Tickets €12.00
Doors 7:30 p.m.