Chant en pays Bigouden

 

 

TRADITION FAMILIALE DE CHANT EN PAYS BIGOUDEN 

Chanteurs et musiciens de Bretgane N°4

 

FAMILY TRADITION OF SINGING IN THE BIGOUDEN COUNTRY

Singers and musicians of Brittany N°4

 

Dastum, 1991, DAS-114 

 

Bigouden country or Bro Vigouden in Breton is a small area west of  Quimper in Southern Finistère. The main city is Pont-l'Abbé. So we are in the Breton speaking part of Brittany in the greater region called Kernew (Cornwall). Singing is still very important in Breton mainly and in French. This tape is a good example of this part of the Bigouden culture with the grandmother Lisette Maréchal, her daughter Marie-Aline Lagadic and the third generation with two young singers Klervi Rivière who is now a well-known traditional singer and Anna Stéphan.

The repertoire is probably local with a certain number of songs about fishermen, sailors and the sea. The booklet that goes with the tape was missing so it's difficult to know better. All songs are in Breton except for A5 and B7 and unaccompanied as it should be. 

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Authentic Music of the American Indian

 

AUTHENTIC MUSIC OF THE AMERICAN INDIAN 

Volume I : War Dances and Honor Songs/Volume II : Social Songs and Folk Songs/Volume III : Ceremonial Songs and Chant

INCLUDES MUSIC OF THE FOLLOWING TRIBES !

                      CHEYENNE OMAHA  CROW  TEWA  PAPAGO  PONCA   TAOS   PAWNEE                           APACHE  ZUNI  SIOUX  KIOWA   SHAWNEE  UTE  HOPI  ARIKARA                                       NAVAJO  PLAINS   PIMA  PAIUTE

A THREE RECORD SET

Everest,  1971, 3450/3

A good part of this excellent set was reissued by  Spalax Music in 1994 and Legacy International. But as it is sometime the case some tracks have been excluded:  here 26 tracks out of 40 are available on CD.
So I'm posting the 14 tracks missing because the whole product  gives an good overview of the different types of singing from very different ''tribes'' (Indian talk about nations nowadays). Some of these Native American groups are not really known here like the Tewa and Pima. The others such as Apache, Navajo (Dine) or Sioux are easily found   in the album productions. But what makes the difference maybe with more contemporary albums is the five page booklet full with valuable information for people like us. It gives a real picture of what the Indians were and what they are at the time of recording : ''these remarkable people can drum and sing, joke and laugh - even if some of the jokes are now bitter. They have not given up''.
Everest Records was founded in 1958 and had its own recording material. So I suppose all the field recordings here were their work for there are no credits nor details about the actual recordings except for the solo or lead  singers names.

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Harpes Celtiques

 

HARPES CELTIQUES 1000 ANS D'HISTOIRE 

Conservatoire régional de musique, chants, danses et sports
traditionnels de Bretagne
racines pour demain  

CELTIC HARPS 1000 YEARS OF HISTORY  

Brittany regional music, songs, dances and traditional sports conservatory
roots for tomorrow

Conservatoire régional, 1987, CR 8701

This album features two Breton harp players : Mariannig Larc'hantec and Myrdhin. Myrdhin plays on tracks B1,  B2 and B3 on a metal string harp while Larc'hantec plays a nylon string harp on all other tracks.
The album is a kind of audio version of an exhibition presented by the Regional Conservatory about the history of the harp. France Vernillat, harpist and scholar, wrote the text in French to give a summary of that history starting in ancient Mesopotamia and Egypt and ending with mention of Alan Stivell.
M. Larc'hantec had a classical and traditional type of formation. She won the first prize in Killarney in 1974 at the International Panceltic Competition.  She was a celtic harp teacher at the Regional Conservatory at the time of the recording. I find her approach to traditional music a bit too stiff especially on track A8 (gavottes des montagnes). She plays some medieval and Renaissance stuff as well as Irish harp music from O'Carolan, a menuet, a traditional tune from the Hebrides and a sicilienne. She composed the last tune on side B ''Excalibur''.
Tracks A1 and A7 were harmonised by Denise Mégevand who was Alan Stivell's harp teacher when he was a kid.
Myrdhin (real name Rémi Chauvet) is more creative in a way. There are some percussion instruments on his tracks and in the absence of any other information I suppose he also plays them. He tried to go back in a way to the ancient bardic world  when  imagination was valued and music forged links between man and the universe. 

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AL-SAMAH

 

AL-SAMAH/ ARĀKA ṬARŪBAN

This is a copy of a commercial tape I got from a friend who lived in Sana'a for a while. Numerous tapes and their copies were widely in circulation in Yemen the problem being that if the music can be copied the tapes covers were not; so apart from the name of the singer and sometimes the title of the tape nothing is available about the content. Of course it doesn't matter too much for Yemeni people who understand the lyrics and know the singers but for us it's a loss.
Ali Al-Simah (Samah) was a famous singer and lute player in the Sana'a tradition who was active between the sixties and the eighties (my guess) but it's difficult to find information about him.
There is only one darbuka player with him but it's enough to create a wonderful music based on vigourous ud playing.
Thanks to Leonidas plenty of information about Al-Samah in the comments below.

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