Omara Portuondo begins this album away from Cuba, saluting a genuine crooner avant la lettre, the Frenchman Henri Salvador, with “Yo vi”. Swami Jr’s subtle string arrangements bestow this delicate version with a metaphorical hint of what the singer has witnessed over the years, as indeed the title points out, and of the declaration stating that this album forms merely another rung in the ladder of her career. “O qué será” is clearly a song Omara has long wished to record. For this song the Cuban singer has joined forces with another genuine Brazilian music maestro, Chico Buarque, for a version that conveys an interplay between the languages of both singers, and indeed of all the musical traditions of everyone contributing.For this album Omara also resurrects a song she recorded in 1974: “Vuela pena” by Amaury Pérez. As heart-warming as it was when she performed it for the first time, the lyrics seem to take on a new form here: now it’s time to dispel the pain of passing time and the loss of certain dear friends along the way, like Ibrahim Ferrer. “Cuento para un niño”, by Rojas Torrente, which is strategically placed at the midway point on the album, is unquestionably one of its climaxes. After a career spanning so many years, Omara is still moved by a story so close to her heart that she is unable to hold back the tears for some final verses in an emotion that is calm, though implied throughout the tune.
The title track from the album, “Gracias”, which was composed especially with Omara in mind, begins with a clear taste of Brazil, one of the Cuban singer’s favourite music styles and a manifest influence in Uruguayan singer-songwriter Jorge Drexler’s productions. Omara is an admirer of the singer-songwriter’s work and has long wanted to sing one of his tunes. Omara’s ability to transform an apparent farewell message into a call of hope re- emerges in “Lo que me queda por vivir”. However, despite the song’s title – the life I have left – one only needs to listen to the first line of the song: “the life I have left will be spent smiling”, to realise that there is no place for sadness in this tune.
Indeed, the album kicked off with a French feel of chansonnier, and for the ending the album goes in search of a part of the Caribbean island’s musical roots. “Drume negrita” takes a salute to African music in the company of the Cameroonian Richard Bona, whose vocal skills and virtuoso talent once again demonstrate on this album that good music knows no limit in terms of ages, but rather is marked by shared sensitivities.
This album is in many ways a return and revisiting of songs that first engaged me. I have always found the tradition of English lyrical and pastoral ballads an area of sweet melancholy most moving, and although I have known most of these songs over many years, have never recorded, or even sung them before. They are familiar to me from folksong-club floor-singers, residents and from fellow travelling performers. Also, I took myself off to Cecil Sharp House (the home of the English Folk Song and Dance Society) where the Vaughn-Williams Memorial Library is based, and the helpful librarians led me to much source material. I found there, among its massive archive, Chappell’s ‘Popular Music of the Olden Time’ which revealed to me the source of some songs that were current in my childhood. These are written songs of the 17th century that were in the National Song Book, and the like, intended for schools, to be accompanied by piano. Benji, Giles and I then spent time finding suitable settings for the songs, which all came together speedily and naturally. This working on songs is always a good time for me. How songs reveal themselves to different musicians is surprising and delightful. We have tried here to present these jewels in the simplest, acoustic formats, leaving the songs to reveal their power quietly.
Ashley Hutchings and Ken Nicol’s first time collaboration. Copper, Russet and Gold. Comprised of all original compositions that delve into the pairings’ rich musical history. The expected folk feel is certainly there, but also mixed with splashes of jazz, blues and rock. Lyrically too the record is a varied experience with tales of Old England, the misery of supporting a doomed football team, Sir Francis Drake, GIs in World War II Britain and the beauty of Paris. Nicol and Hutchings have made a record that glows with warmth, genuine character and charm.
'Many years ago, after a hard day in the pram, there was nothing I liked better than to relax and listen to a good record; but so often I found there was nothing that I really liked.
If life is determined by a series of happy accidents, then somebody upstairs was beaming long and hard the day the Carnival Band happened across Maddy Prior. Beginning as a one-off experiment for a Radio 2 Christmas Special, their collaboration has become a long term concern lasting over twenty years and counting. Despite forays into other musical styles and influences, it has been their unique approach to Christmas music that has proved the enduring theme of their work together. Their semi-regular Yuletide live show has become the highlight of many a seasonal period, featuring festive favourites played on medieval and modern instruments. 2007 however will see the pairing embark in a new direction. Ringing The Changes is an apt title for an album that sees them eschew their usual approach of adapting music from earlier centuries in favour of all self penned material. Though still a Christmas record in the tradition of Carols And Capers and A Tapestry Of Carols, this is an album that takes a look at all aspects of what the season means today. Thus there is the Jamaican gospel of 'Wake Up!' and the beautiful introspection of 'Bright Evening Star', both dealing with the traditional story of the virgin birth. 'Stuff!' (featuring a guest turn from Monty Python's Terry Jones) looks at the thoroughly modern custom of retail frenzy and panic buying. Elsewhere there is more rumination on the nature of the season and a rich musical landscape that includes medieval and folk music, as well as a Latin text set to a Cuban rhythm. The result is a collection of contemporary reflections on the festive season with fresh musical ideas to match. Christmas is always changing - you could argue whether for better or for worse - but these songs show that amid the frantic materialism, the fragility of family life and the questioning of beliefs there is still room for quiet contemplation, generosity, awe and wonder, a pint and a carol or two.
This seems a particularly fitting release since the globally acclaimed Northumbrian musician was awarded the prestigious Queen’s Medal for Music in 2009. Following on from this award, Kathryn had a very special celebration at the Sage Gateshead in December with special guest Sting amongst others.
From the very moment that Steeleye Span first married electric instruments and traditional music, Maddy Prior has always been an innovator. Throughout her career, both with the band and in her solo career. 2006, however, saw her undertake he most challenging project yet – The Quest. Inspired by the legend of the Holy Grail, it was to be a tour of the UK that visited some of the most historic and dramatic location in the country, many of which were tied into the myths that surround the holy vessel. Maddy Prior has always been fascinated by the stories and legends of these isles and has written or adapted most (if not all) of the great folk tales over the years. Of late, however, she has begun to explore perhaps the most enduring myth of all – that of King Arthur and the Holy Grail. The question whether the Grail made a journey through Britain, whether Joseph of Arimathea did visit here as a trader, even if he brought a young Jesus with him, has enthralled both artists and historians down the ages. The Quest is another in a long line of creative endeavours designed to engage with the story. Accompanied by her long-term musical colleagues Nick Holland and Troy Donnockley, the tour saw Maddy revisit her solo catalogue for the first time in some years. The Quest CD/DVD includes material from ‘Flesh & Blood’, ‘Year’ and ‘Ravenchild’ releases, the trio of albums that she released to critical acclaim during the nineties. However the centrepiece of the live set comes in the form of the song cycle from ‘Arthur The King’, which deals with one of the key figures at the centre of the myth of the Grail. Yet there was more to The Quest than just the music. This was to be the first interactive music tour, whereby internet watchers the world over would be able to follow the progress of Maddy, musicians and crew online as they were followed every step of the way by a film crew. Each day new footage, both on and off stage, was posted on the Quest website to provide a unique insight into the touring process. The best of these is available with a special bonus DVD that accompanies the album, featuring many of the most memorable performances from the tour alongside some fascinating and often hilarious behind the scenes footage. The Quest may have come to its conclusion, but this is a document that will ensure that the special atmosphere that created will never be forgotten.