P. J. Motreff ha L. Ropars

A-BOUEZ-PENN GAND PJ. MOTREFF HA LOEIZ ROPARS

IN FULL VOICE WITH PJ. MOTREFF AND L. ROPARS

Coop Breizh, 1979, 1003

 

Loeiz Ropars was a very important man for the Breton revival. Everybody agrees that he was the ''inventor'' of what is called the fest-noz in its modern form. He became interested in the Breton singing tradition at the end of the thirties but mostly during the war because suddenly the old people with their culture were the only possibility of having some fun in the villages in a Brittany occupied by the Nazis. After the war he wanted to keep alive what he saw  during the occupation and he managed to convince some singers to take part in kan ha diskan competitions. the in 1955 he organized the first modern fest-noz in Poullaouen ie an evening of songs and dances in a hall instead the yard of a farm, with a stage for the singers, one microphone and a entrance fee for the public. He was himself fluent in Breton of course and a fine singer. He died in 2007.
Among the old singers he used to visit and promote was PJ. Motreff born in 1899 in a family of singers. He started singing in 1910 with his mother. The area is what is called Haute-Cornouaille in French (Kernev in Breton) where singing is still very strong for dancing and other occasions. The kan ha diskan (the lead singer starts the first line when the second singer ''replies'' by singing the end of the first line before singing it himself and so on) is also possible outside of dance.
Here what is mentionned as being three different tracks on side A is in fact one track; this the traditional set called gavotte (gavotten or dans-tro in Breton) with the first chain dance followed by a ''bal'' to get some rest before the second chain dance. So there are three tracks on side A. The two other tracks are one song about the first world war (inside the trench) and a song about a murder that happened in the 17th century.
On side B four songs including one composition by Ropars ''Son ar Distrujer'' (song of the destroyer) telling us about all the destruction that was brought by the state in the sixties when the craze was to erase embankments in order to get bigger fields for a bigger production. Now the reverse movement has started after it was obvious that this ''remembrement'' killed local flora and fauna, caused big floodings and didn't help much the farmers in the end. Ropars was very active against such an ''economic progress''.
Text in French by Donatien Laurent, a famous scholar and musicians who died in 2020.

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Souleymane Sidibe

 

SOULEYMANE SIDIBE/BADEYA FOLI

no label, no date, GD052

One of  thousands of tapes in circulation in Mali's music shops and markets. It was brought back by a friend.
There is absolutely no information about this tape. Surely Sidibe can play the kamele n'goni is holding on the cover and he's the main singer. The mixing of old traditional instruments with synthetizers and other Western instruments has been the rule for a lot of singers/musicians. The kamele n'goni (the ''instrument of young men'') is mainly played in the Wassoulou region and is now very present in what is called the revival of Wassoulou music. 
There are in fact eleven tracks but only eight of them have a name. 

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SATANAZET

 

SATANAZET / AN DURZUNEL 

Vélia, 1973,  n° 2230004

Satanazet (the Devils in Breton) was one of the first band in Brittany to mix Breton and Irish repertoires. The band was the gathering two brothers,  Patrig and Dominig (Breton spelling) Molard and four other musicians. Dominique has passed away while Patrig is still in activity on the scottish bag pipe or the uilleann pipe. In 1973 there was no Irish pipes; Patrick got his own set some years later; another member was the accordion player Alain Le Hégarat who was also an uilleann piper later. Among the two musicians who are guests there is Alan Kloatr on wooden and classical flutes one of the first French musicians to have got an English flute used in Irish music.

Seven tracks out of eleven are Breton, two are Irish, one is mentionned as Irish-Appalachian and a fourth one is of Scottish inspiration. All the tunes are traditional except for track B1 (an dro elfenn) a superb composition by Le Hégart who was also member of a bagad and pipe band and track B4 by Youenn ar Mao which is a mixture of Scottish music and American bluegrass.

I must say that most of the second melodic voices played on fiddle or mandolin are not great (often too ambitious in relation to the instrumental level) but this is an interesting document about the Breton revival in the early seventies; Kloatr on flutes is very good as well as the tin whistle, bombard and bagpipe played by P. Molard.
P. and D. Molard as well as A. Le Hégarat were members of Ogham afterwards.

An durzunel means the partridge in Breton and is the name of a song played on B5

This second hand album is not in a top state but  it's not desperate either ...

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Кыргыз Күүлөрүнүн Антологиясы 3

   

Кыргыз Күүлөрүнүн Антологиясы

Биринчи бөлүм

ANTHOLOGY OF KYRGYZ MELODIES (PART ONE)

Melodiya, 1974, M30 35583, 35584

This the third album of that series with the title ''Епостук дастан күүлөр''. All the tracks are instrumental ones with outstanding komuz players like Sherkulov or Madazimov. Like the two previous LPs this one is a copy made in 1986 and at that time I didn't keep the presentation tracks in Kyrgyz. So the first track is missing (E1).

E1 Кириш сөз = Вступительное слово = Introduction read by – З. Мамбеталиева E2 Чоң казат Dombra [Komuz] – Чалагыз Иманкулов* E3 Алмамбет менен чубак Dombra [Komuz] – Асанаалы Кыштообаев E4 Каныкейдин арманы Dombra [Komuz] – Кара Молдо Орозов* E5 Олжобай менен кишимжан Dombra [Komuz] – Жакшыбай Жээнтаев E6 Кожожаш Dombra [Komuz] – Жакшыбай Жээнтаев E7 Эр табылды жалгызым Dombra [Komuz] – Абдыкерим Мокоев E8 Курманбек Dombra [Komuz] – Болуш Мадазимов E9 Саринжи бөкөй Dombra [Komuz] – Болуш Мадазимов F1 Солтон сары Dombra [Komuz] – Болуш Мадазимов F2 Мендирман Dombra [Komuz] – Шекербек Шеркулов F3 Карагул ботом Dombra [Komuz] – Шекербек Шеркулов F4 Гүлгаакы (I вариант) Dombra [Komuz] – Курманаалы Калботоев F5 Гүлгаакы (II вариант) Dombra [Komuz] – Алтымыш Мундузбаев F6 Шырдабектин боз жорго Dombra [Komuz] – Асылбек Эшмамбетов* F7 Кет бука (I вариант) Dombra [Komuz] – Шекербек Шеркулов F8 Кет бука (II вариант) Dombra [Komuz] – Курманаалы Калботоев F9 Мырза уул менен ак саткын Dombra [Komuz] – Болуш Мадазимов
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OGHAM

 

OGHAM . BOKED EURED

Keltia 3,  1976, KEL 02

This Breton band was built around two families, the Sicard and the Molard. The four Molard brothers started to play together some Breton and Irish music when they were still living in Saint-Malo where they come from. The best-known of the four brothers is Patrick Molard who started by studying the Scottish bagpipe and its music including what is called piobaireachd. Then he played the Breton bagpipe, the binioù. At the same time he discovered the uilleann pipes and was one the first uilleann pipers in France. His brother Jacky on guitar here became a renowned fiddle player in Breton and Irish music. Dominique Molard is now a drummer but he plays the bouzouki on this album. The fourth brother Claude has since passed away and played bodhran and guitar. The other family is represented by Padrig on fiddle and whistle,  and Ronan on keyboards.
They wanted to play Breton music with Irish instruments (uilleann pipes, fiddle, flute, whistle, bodhran, bouzouki) or aesthetics, influenced by the Irish folk revival (Planxty, Bothy Band, Na Fili, the Chieftains ...). They were not the first ones to have this idea; the band called Satanazet recorded in 1973 but without any bagpipe. Dominique Molard was there also.   It is interesting to note that Keltia 3 was a label founded by Alan Stivell who wrote part of the notes in French.
So only two tracks out of eight are Irish and Scottish sets; Gloire ui Rodnaich (Rodney's Glory) is a set dance followed by a reel, the Hunter's Purse. The Scottish set is led  by the Scottish bagpipe. The six tracks left are Breton dance tunes and songs played on the instruments.
Ogham was an ancient writing system used by the Celts in Ireland between the IVth and the IXth centuries. This is what is on the cover.
Boked eured is a song sung at weddings and means ''the wedding bouquet''.

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Paucartambo - Indiens Q'eros

 

MUSIQUES DU PEROU/MUSIC OF PERU

Paucartambo Indiens Q'eros  

Ocora-Radio France, 1984, OCR 30 

Made in July and August 1965 these recordings are the work of Pierre Allard and Claude Koenig. Paucartambo is a village which lies at an altitude of  3500 m. P. Allard was there during the annual festivities for the Blessed Virgin Carmen between the 15th and the 17th of July. The whole process is described in the text in French and English and forms side A. Side B is music from the Q'eros Indians  who numbered only 240 at the time of the 1955 census. Their life style and environnent are well presented in the text. The flutes are the main melodic instruments especially the kena. On side A we can also hear a violin and a harp. A very interesting and nice album about indigenous societies in danger of disparition.
this album was never issued on CD and is absent from the current Ocora site and catalogue.

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ROCKING THE CRADLE-Séamus Ennis

 

ROCKING THE CRADDLE

SONGS IN ENGLISH & GAELIC 

SEAMUS ENNIS

Folktracks Cassettes, 1982, FSA-45-169

S. Ennis (1919-1982) was one of the greatest pipers in Ireland. He could also sing in English and Irish and play the fiddle, the flute and the war pipes. He was also known for his works as a collector of songs, tunes and tales all over Ireland in the forties and fifties for the Irish Folkore Commission and later for Radio Eireann.
Some of  the songs  he performs on this tape are delivered with short stories or explanations about them. There are 10 songs in English and 9 in Gaelic.
Unfortunately the production is rather poor as the cover shows : a simple piece of paper perhaps due to a lack of funding.

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SKED

 

SKED

Production Velia, ?, 2230025

Among the numerous Breton bands Sked is probably one of the least know now. Sked (meaning ''glossy'', ''shiny'' in Breton) made only one album maybe in 1975. The band had some musicians who became famous later like Jean-François Sibéril known as Soïg Siberil on guitar and Jean-Pol Huellou on tin whistle and classical metal flute. Others were also very important at that time like Alain Le Hegarat on uilleann pipes who was one of the first Breton people to have discovered Irish music at the end of the fifties; he went to Ireland in 1960 and started with a practice set around 1972. He was born in 1939 and is still with us. He and Alain Trovel (keyboards) recorded a beautiful album with uilleann pipes and organ which was reissued on CD. In the band were also present the Colleu brothers, Philippe on banjo and Yvon on accordion and guitare. Philippe is well known in Brittany and Normandy for his works on the maritime repertoire from these regions. Two more musicians were parts of the band : Brendan Fahy on guitar, bodhran and vocal (but he doesn't sing on the album) and Gunter Buchwald on fiddle.
The repertoire is mostly Breton with two Irish sets; there is also one melody maybe Scottish, Kingussie Flowers. Note that B1 is not the Humours of Lissadel but O'Neill's March and the Battle of Aughrim and is followed by B2 ''an dro''. The interesting thing about Sked is that like other bands they worked on a traditional Breton repertoire with an Irish approach which was quite innovative at that time. 

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RAUL MALDONADO

 

GUITARE ET CHANTS D'ARGENTINE

GUITAR AND SONGS FROM ARGENTINA

RAUL MALDONADO 

SFP, ?, 52005

 Raul Maldonado was born in Argentina in 1937 in a small place in the pampa but lived partly in France where he recorded this album during the sixties. At the age of twelve he met with Abel Fleury, one of the greatest Argentinian composer for guitar. Maldonado plays some of Fleury's works on side A. He also studied guitar with A. Yupanqui and other musicians. He is mostly a solo guitar player but he worked with Los Calchakis as well as other ensembles.
Side B has some compositions by A. de Robertis the kena player.
This is popular kind of music by learned composers and musicians who loved the songs and music of the people of Argentina and promoted them all around the world.

To know more about Maldonado : http://www.raulmaldonado.fr/

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Bogue d'Or 1989

 

CHANTS TRADITIONNELS DE HAUTE-BRETAGNE

BOGUE D'OR 1989

Chanteurs et musiciens de Bretagne n°3

TRADITIONAL SONGS FROM UPPER BRITTANY

GOLDEN CHESTNUT-BAR 1989

Singers and musicians of Brittany n°3

Dastum, 1990, DAS-113 

This is one of the few tapes that Dastum never reissued on CD. As the title shows it is about an annual competition for singers ans musicians in the Eastern part of Brittany where the Breton language was never spoken or disappeared during rhe Middle Ages. But there is another language spoken along with  French , a dialect called Gallo, a Romance dialect. The term ''upper'' means that this part of Brittany is closer to Paris than ''lower Brittany'' and had implied for a very long time that Eastern Brittany was more ''civilized'' than the Western part where Breton is still in use. But of course the Gallo dialect was also considered as a local dialect of no importance which should have disappeared as well for the benefit of French. When the Breton folk revival started it was all about the Breton tongue and history and Gallo was not part of that cultural and political movement. The people of Upper Brittany considered themselves as Breton as the others and managed to set up many associations and bodies in order to preserve their own culture.
One way of preserving that dialect and musical culture was to organize a competition open to all. Here we have the final competition, after the qualifying rounds were over, held in Redon on the 29th of October 1989. It's called ''Golden Chestnut-bar'' because chestnuts are a major product in the local economy.
Singers are quite dominant and the interest of this competition is that everybody being welcome it gives a vivid image of what the local singing was like at the time with children, adults and older people, all singing on their own with sometimes the help of the crowd which respond to the singers when necessary. All the repertoire is traditionnal except for the song on B7 composed by Marie Morin who sings it herself.
The competition involves instrumental music as well with the traditional duet or couple bombarde and biniou and some accordion (diatonic) playing. Two tracks are devoted to the duet with bombarde and biniou with some marches from Redon and Josselin while two more tracks have dances played on the box.To be precise, these instrumental tracks were recorded much later but with the same musicians for technical reasons.

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Magyar Furulyások Erdélyben És Moldvában 

Hungarian flutes players in Transylvania and Moldavia

 Hungaroton, 1993, MK 18221

This is a copy on tape I got from a friend during the nineties. The original is a cassette published in the series called FonoFolk.

A very nice and interesting work under the direction of Juhász Zoltán himself a talented furulya player and piper who played with Muzsikás among others. 

As I don't have neither cover nor booklet here are the credits found on Discogs :

	Bálványosváralja (Unguras)
A1	Topán György	A Juhok Nótája
A2	Réti Imre	Keserű Víz, Nem Hittem, Hogy Édes Légy
A3	Topán György	Máma Péntek, Holnap Szombat
A4	Topán György	Kecskés
A5	Réti Imre, Topán György	Jaj, De Sokat Áztam, Fáztam, Fáradtam
	Magyarbece (Beta)
A6	Szántó Ferenc	Keserves
A7	Szántó Ferenc	Keserves
A8	Szántó Ferenc	Pontozó
A9	Szántó Ferenc	Keserves És Lassú
	Magyarszovát (Suatu)
A10	Csete Árpád	Két Lassú
A11	Csete Árpád	Összerázás
	Szék (Sic)
A12	Székely József	Lassú
A13	Székely József	Csárdás És Magyar
	Klézse (Cleja)
B1	Farkas Demeter	Tilinka-Szózat
B2	László András	Öreg (Lapos) Magyaros
B3	László András	Magyaros
B4	László András	Édes Gergelem Éneke
B5	László István	Édes Gergelem Tánca
B6	Legedi László István	Románca
	Székelyszentmihály (Mihaileni)
B7	András József	Két Keserves
B8	András József	Kétlépésű Csárdás
B9	András József	Egylépésű Csárdás
B10	András József	Marosszéki
	Gyimesbükk (Ghimes Faget), Hidegség (Valea Rece)
B11	Tímár Viktor	Kettős És Sirüleje
B12	Karácsony Gergely, Karácsony Lázár	Csárdás
B13	Tímár Viktor	A Bábáé Recorder – Tímár Viktor Ütőgardon – Tímár János
B14	Karácsony Lázár	Keserves
B15	Tímár Viktor	Lassú És Sebes Magyaros Recorder – Tímár Viktor Ütőgardon – Tímár János

		Collections of Zoltán Juhász, Róbert Kerényi, Iván Nesztor, Ferenc Pásztor, Kálmán Sáringer. The most beautiful melodies of Transylvanian and Moldavian Hungarian flutists - shepherds, farmers - are played on this selection. Good flute playing is not rare in these regions, so it is here that the ornamental, varied and improvisatory formal culture of instrument playing has survived in its richest state. Flute playing has common and regionally different characteristics, just like singing folk music or dialects: the flutists of the Székely, Székely or Moldavian Csángó regions form the melody and handle their instruments differently. The recordings are made in the musicians' homes or out in the fields and pastures, so you can sometimes hear the birds singing, the sheep barking, the shepherds talking, the dancers tapping their feet. All the flute types used by Transylvanian and Moldavian flutists can be heard on the cassette. The most common is the six-holed, plugged flute (the Moldavian Csángó call this instrument 'sültü', or 'whistle', in old Hungarian). It is this tachnika that gives the Transylvanian flute its rich and variable timbre. And the throaty accompaniment adds even more colour to the sound. Today, tilinka is only used by the Moldavian Csángó. Its whistle construction is unique: it has a wind splitting hole, but the musician replaces the plug with his own tongue. (Another type is even simpler: the sound is made by blowing on the sharp edge of the empty tube.) The tilinka has no holes, the sound is made by the overtone of the open and closed whistle. The twin flute is a single instrument consisting of two flutes carved from wood side by side. One branch has six holes, just like the normal flute, while the other has no holes, like the tilinka. Thus the overtone of this second branch provides the notes to accompany the melody. The kaval is 60 to 80 cm long, with five holes and a special series of notes. Its whistle has a plug mechanism exactly like that of the ordinary flute. The kaval is used by the Moldavian Csángó, who probably adopted it under Romanian influence. Zoltán Juhász Note that on my copy tracks A10 and A11 are one track; the same for B1 and B2, B9 and B10
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Poringé

 

PORINGÉ FOLKLORO ANSAMBLIS

Melodiya, 1989, S30 28705 004

This band is part of the Vilnius Educational Institute under the direction of Mrs Marija Baltréniené. All the members were young people mostly singers. As the ''title'' shows this Institute was intended to allow younger generations to know and assimilate what was left of the Lithuanian musical  tradition. There is now another group by the name of Poringés which ''took over'' the old one.
This album is largely dedicated to singing as side B shows. Female group singing (dainuoja mergaitès) is the most important, then male group singing (dainuoja visi) and finally mixed group singing. All these songs come from the area around Varèna.
On side A we can listen to some instrumental music with the skudučiai a set of tubes played individually by several people creating a kind of polyphony. Now one player might have up to three pipes tied together for himself but the playing is still the same.
Another typical instrument is the popular oboe called byrbiné with a single or a double reed once played by shepherds to control their herds.
But maybe the most popular instrument is the kanklès a zither related to the other Baltic zither and Russian gusli.
Some of the instrumental parts sound like European music from the 19th century but some seem pretty much older like sounds to accompany agricultural or forestry rituals. We must remember that the Baltic people were largely pagans as late as the 13th century which led to the invasion of the Teutonic Knights who had come to convert them by force.

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Viracocha

 

VIRACOCHA

LEGENDARY MUSIC OF THE ANDES

Lyrichord,  1974, LLST 7264

This is one of the albums Lyrichord didn't think necessary to include to its download site. This recording was made in the field by J.F. Sheppard in 1972 and 1973 in Peru. The presentation text gives some information about the history of the Incas but very little about the music itself.
It seems that some of the tracks were recorded during cultural events at Cuzco. There are bands of musicians with kena, guitare, violin, mandolin and harp as well as harp solo and an small pipe organ built by a Quechua farmer and tuned to the oldest organ in South America in Cuzco Cathedral.
Track A7 is a bit of a surprise with a Hopi hunting song; nothing is said about the presence of some Northern Indian singers but links between Andean and Native American people were part of a will to highlight the rich culture of the American aborigenes from the Bering Strait  to the Tierra del Fuego. A big feast and show called Inti Raymi is held every year in June to revive the Inca empire with historical reconstruction in the ancient capital of the empire. I suppose that some of the music was recorded there by Sheppard. 

 

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ГΕOPГИ ЧИЛИHГИPOB

 

ГΕOPГИ ЧИЛИHГИPOB И CTEФAH ЗAXMAHOB гaйдa

GEORGI CHILINGIROV and STEFAN ZAHMANOV bagpipe

Balkanton, 1978, VNA 10162

From the Rhodope region a nice duet with singer G. Chilingirov and bagpiper S. Zahmanov. The kabagajda is proper to the area and gives this music a special flavour. Zahmanov was considered as a master  who was part of every important musical events. He plays four solos including his famous ''svornato horo'' that he recorded several times.
Chilingirov has a nice voice  and sings in the traditional manner.
Texts in Bulgarian and English. 

 

Available at : https://www.deezer.com/en/album/273370122

 

Los Incas 71

 

LOS INCAS 71

Festival, 1971, FLDX 517

One of the oldest latino-american bands in Europe, Los Incas was created by Jorge Milchberg aka "El Inca" in 1956 along with fellow Argentinians Ricardo Galeazzi and Carlos Benn-Pott.
They were quite prolific in the sixties and seventies when ''latino'' genre was fashionable in France in particular.
Their approach to South-American music was both locally rooted and reworked. They used some field recordings published by Folkways for example in the forties and fifties but with some arragements, nice ones most of the time. They composed a lot as well. Here each track is attributed to El Inca (except for one to Benn-Pott) but I believe he put his signature as an arranger mostly. Either compositions or traditional all the tunes are quite nice.

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White Mountain Apache

 

SONGS OF THE WHITE MOUNTAIN APACHE

Canyon Records, 1977, C-6165

This is an album recorded in the field by Raymond Boley at Cibecue, Arizona in 1976. There is a brief introduction about the White Apache reservation and the songs themselves.
It's quite different from what we can hear among the Plains Indians for example. All the songs are led by a lead singer, male or female, and sung then by the group. A small percussion and bells are used to support the songs. Here there are several types of songs like ''horse songs'' or ''crown dance songs''. Horse songs seem to be important enough because there are seven of them out of fifteen tracks. The presentation text says that horses are ''spiritually blessed to ward off evil spirits''.
Canyon Records (https://canyonrecords.com) are still in activity with an impressive catalogue but some of their LPs have not been reissued.

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Field recordings by F. Sebő

 

FIELD RECORDINGS MADE IN HUNGARY AND 

ROMANIA BY FERENC SEBŐ

cassette 

Ferenc Sebő was born in 1947 and is one of the musicians who initiated the Hungarian revival known as Táncház Mozgalom.
He started as a singer and guitar player during the sixties setting Hungarian poems to music as well as arranging folk songs. He met Béla Halmos and both got closier to traditional music and dancing.
Soon Ferenc travelled in Hungary and Romania (especially Transylvania) recording traditional musicians in the field following a long lineage of musicians and scholars like Bártok, Vikár, Timár etc...
A lot of these recordings managed to be published commercially throughout the eighties onward. But not all were operated and served first as working material.
This is a copy of a tape made by one of the members of the band Dűvő while I was in Hungary in 1984.
The quality is sometimes not very good but it was for me a good way to get to know this Hungarian music a bit better at that time.
There are recordings made in Moldavia (csango fiddle music) and Transylvania (villages of Feketelek and Szék). Most of the musicians are not known to me except István Ádám whose name was mentionned on the tape. Although some musicians introduced themselves (name, age and instrument) it's difficult to understand them.
Lovers of Hungarian music will recognize most of the tunes because they were recorded by revivalist groups and artists or are parts of commercial field recordings. But maybe there are tunes not so known nevertheless.

track 01 : brass band and singing (location unknown)
track 02 : brass band
tracl 03 : solo csango fiddle (Gyimes)
track 04 : two fiddles ('')
track 05 : fiddle and gardon ('')
track 06 : idem
track 07 : idem
track 08 : female singer with two flutes ('')
track 09 : fiddle and gardon ('')
track 10 : idem
track 11 : two fiddles, kontra, double bass (Mezőség, Feketelek/Lacu)
track 12 : cigany tánc ('')
track 13 : sürü csárdás ('')
track 14 : ritka magyar ('')
track 15 : names of the musicians
track 16 : sürü tempo (István Ádám, fiddle)
track 17 : two fiddles (including Ádám), kontra, double bass
track 18 : idem
track 19 : idem
track 20 : idem
track 21 : names of the musicians
track 22 to track 32 : same band maybe as tracks 17 and subsequent

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Après la marée noire

 

APRES LA MAREE NOIRE

VERS UNE NOUVELLE MUSIQUE BRETONNE

AFTER THE OIL SLICK

TOWARDS A NEW BRETON MUSIC

Le Chant du Monde, 1979, LDX 74703

On the 16th of March 1978 the tanker Amoco Cadiz was adrift due to rudder failure. In spite of many rescue attempts, the tanker drifting towards the coast of Potsall finally opened its hull on the rocks. 300 km of coastline were polluted in the end; It took 6 months to relatively clean the area while the marine wildlife needed over 7 years to recover from the biggest pollution known in Brittany at the time. This catastrophy had also a political aspect : the mayors of the 98 concerned municipalities  have joined forces to sue the oil company Standard Oil of Indiana and make them pay for the pollution. In 1992 the company was ordered to pay 225 million francs (around 34 million euros). 

During the seventies many things happened in the Breton music revival generated by Alan Stivel among others. There was a desire to create others ways of expression like mixing traditional and jazz music.
Francois Tusques was born in Paris in 1938 and thanks to his parents he discovers jazz through concerts of S. Bechet, C. Luter or R. Urtreger. His career as a jazz piano player starts in the early sixties in Nantes and Paris. After May 1968 he's more and more politically committed and plays with singer Colette Magny. At he beginning of the seventies he thinks that French jazz is at a dead end and he creates the Intercommunal Free Dance Music Orchestra which brings together musicians from all backgrounds to present a less elitist style of jazz. This album is a good example of this approach to popular music. All the music is Tusques' works.
Among the musicians we find three traditional Breton bombard and biniou players, one Catalan singer and jazzmen like the Occitan Michel Marre or Jo Maka born in Guinea (1929-1981).
There is only one song ''Caball'' (the Horse) sung in Catalan by Carlos (Carles) Andreu which tells about the situation in Brittany after the oil slick when the local peasants had to collect fuel on the beaches for months. There is one line that sums up what the song is about : ''la llei del profit es la llei del progrès'' meaning ''the law of profit is the law of progress''. Andreu uses a vocal technique  from the ''cuantre'' typical of  Ibizza.
Most of the tunes are based on Breton ''gavotte des montagnes'' danced in Inner Brittany.
Note that tracks A2 and A3 form a single track (track A3 starts at 9'23")
Text in French.

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