Below: "Émigré" by Alela Diane, a singer/songwriter from Portland, Oregon. The song appears on her fifth album, Cusp, due out next month. The album, she says, is an exploration of motherhood in many different guises, inspired by her second daughter's birth.
Above: "Let Them Be All" by Kyle Carey, a singer/songwriter inspired by both the American and Gaelic folk traditions. It comes from her fine second album, North Star. Carey's third album, The Art of Forgetting, is just about to be released.
Below: "At The Purchaser's Option" by Rhiannon Giddens, the brilliant young singer/songwriter/fiddler/banjo player from North Carolina who was awarded a MacArthur "genius grant" last year. (And well deserved too.) The song comes from her new album Freedom Highway (2017).
Above: Tish Hinojosa's now-classic song about migrants on the American/Mexican border, "Donde Voy (Where I Go)." She's accompanied by Mavin Dykhus in this performance, which was filmed on tour in Germany.
Below: "Going Home" performed by singer/songwriter/banjo player Abigail Washburn with Wu Tong, Yo-Yo Ma, and The Silkroad Ensemble, a group dedicated to music "sparking radical cultural collaboration." The song -- first popularized by singer & civil rights activist Paul Robeson (1898-1976) -- is performed in Chinese and English as part of the Poem for You project. To learn more about it, go here.
Above: Abigail Washburn again, this time performing "Don’t Let it Bring You Down” with her husband, fellow banjo player Béla Fleck. The song is from their terrific new album, Echo in the Valley (2017).
Below, to end with: "True Freedom" by Native American musician and activist Pura Fé, of the Tuscarora Nation. This lovely performance was filmed two years ago at The Alhambra in Paris.
Two years ago, in a Monday Tunes post, I recommended Away With the Birds by Hanna Tuulikki. This week, while we're on the subject of birds, I'd to look closer at this powerful, unusual composition and performance project. Tuulikki, of English and Finnish heritage, studied environmental art at The Glasgow School of Art and is now based in Edinburgh, where she creates interdisciplinary works deeply rooted in myth, folk history, and the natural world.
"Away With the Birds/ Air falbh leis na h-eòin is a multi-artform project exploring the mimesis of birds in Scottish Gaelic song poetry, and at its heart is a vocal composition written for a ten-person female vocal ensemble. The score reinterprets archive recordings, texts, and living traditions, weaving together fragments of songs and poems that are imitative of birdsong into a textural tapestry of sound. Over five movements, the music journeys through communities of waders, seabirds, wildfowl and corvids, evoking sea, shoreline, cliffs, moor and woodland habitats. Within the composition, there is never a soloist -- rather, each vocal part contributes to the whole. The ensemble sing the sea, the winds, and the motion of birds -- wading on the shoreline, swooping before cliffs, and beating skeins, calling to mind the ecotones were species meet.
"Two years ago, on the Isle of Canna, in the Hebrides, we performed the composition within the harbour -- along the shoreline, in the water, and on a skein-shaped platform -- with speakers set up, to amplify and drift the voices across the water to the audience, mingling and interacting with the sounds of the island. As the music ebbed and flowed, my intention was to create a space for listening and for becoming present, for tuning into a sonic continuum that reaches into the 'more-than-human' world.
"The idea for the work emerged from my interest in music from around the world, and noticing that in cultures where people have intimate connection with the land, they are also good mimics of the sounds around them -- their music seems to grow directly out of the sounds of the environment....
"Ethnomusicologist Ted Levin describes this tradition as 'sound mimesis' -- the use of sound to represent and interact with the natural environment and the living creatures that inhabit it, and more broadly the exploration of 'representational and narrative dimensions of sound-making.' He describes a spectrum of sound mimesis ranging from 'sound' to 'song,' from iconic imitation to stylized evocation, and symbolic metaphor or representation. It's my belief that our music, and perhaps even our language, have their origins in 'sound mimesis,' evolving from our listening to the sounds of the animate landscape. And so I began to seek out a musical tradition like this, closer to home.
"I decided to focus particularly on birds because of my childhood interest in them, but mostly because I am deeply affected by their sounds! The complex musical patterns of songbirds never fail to impress, the haunting calls of the waders across the water move me, and the chattering vocalizations of certain seabirds make me laugh! I listen in awe at this more-than-human music."
"When I began to investigate traditions in the English-speaking world, I found only two songs imitative of actual bird sounds -- 'The Cuckoo' and 'The Blackbird,' which are actually of Irish and Manx origin. There are plenty of songs about birds -- for example, 'The Birds in the Spring' or 'Polly Vaughn' -- but it appears that the only symbolic and representational aspect of mimesis remains here.
"As my search continued, I discovered a wellspring of Scottish Gaelic tradition, preserved mainly in the Western Isles, which seems to reach deeper into mimesis, perhaps because people's intimacy with the land was maintained for longer. The songs and poem imitate the sounds and evoke the movements of various species of birds -- mainly waterbirds -- which is indicative of the Western Isles landscape. There are songs of seabirds that nest on cliffs -- kittiwakes, guillemots, Manx shearwaters, Leach's storm petrels; waders such as oystercatchers and redshanks; wildfowl such as whooper swans and geese; and poems of corvids and cuckoo. The bird-sounds ghost through the melody of the songs, expressed in the words, vocables (non-lexical sounds) and rhythms and, collected together, reveal a spectrum of mimesis: some are directly imitative and others are more stylized. I think Gaelic lends itself to the mimesis of birds, because I believe the language has evolved through a close relationship with the land and its community of sounds.
"As well as imitating the birds, the songs carry symbolic and cultural meaning. One thing that I love about them, and it came as a surprise to me when I realized it, is that they are nearly all matrilineal -- either sung by women, from a woman's perspective, or about women. From work to leisure, birth to death, the songs have a social function rooted in women's activities and domains -- songs about the men out hunting the seabirds on the cliffs, and waulking songs about love; to magico-religious songs such as those about the redshank, a keening song to sing the departed safely over to the spirit world, and the oystercatcher, who does St. Bride's work of caring for children. As much as this project is about birds, and ancient traditional culture, it is also about women and, in the same way that Gaelic culture preserved sound mimesis, I often wonder about the significance of how women's songs appear to have also preserved those older traditions.
"These two aspects, the ecological mimesis and the matrilineal, became the conceptual and compositional framework for the piece, from the macro to the micro, from the wider shape of the project, to minute details. It is no coincidence that the piece is called Away With the Birds, with its double meaning! Contained within this musical portrait of the inter-relationship between bird and human is the recognition of a lineage 'outside' the written word, that stretches back to early hunter-gatherer cultures, for whom bird-calls and animal cries had magico-religious symbolism -- like the slay-toed fowlers who scaled the cliffs of St. Kilda, and the women who bore the song-poems."
To learn more about Away With the Birds, visit the project's website and Tumblr journal. (The photos in this post are from the latter.) To follow Tuulikki's current projects, visit the artist's website.
To read Sharon Blackie's interview with Tuulikki in full, seek out the March 2017 issue of EarthLines Magazine. The magazine has stopped publication, but backlist issues are still available and I highly recommend them.
Videos above: "Away With the Birds, a taster" (2013), and "Red Bird Red Bird," another exploration of birdsong by Hannah Tuulikki (2014).
Words & pictures above: The quoted text is from "Voice and Gesture: Sharon Blackie Talks to Hannah Tuulikki" (Earthlines Magazine, Issue 17, March 20170); all rights reserved by Blackie & Tuulikki. The photographs are from the Away With the Birds Tumblr page; all rights reserved by Tuulikki.
In 2016, Scottish singer/songwriter Karine Polwart, working with sound designer Pippa Murphy, presented Wind Resistance at The Lyceum Theatre in Edinburgh. As Imogin Tilden explained Polwart's solo show in The Guardian:
"Every year, 2,400 pink-footed geese arrive from Greenland to winter at Fala Flow, a peat bog in the Lammermuir Hills, south-east of Edinburgh. The village of Fala is the home of singer-songwriter Karine Polwart, and this intimate solo show is her hymn to the gentle Midlothian landscape: to its birds, its insects, its plants and trees, and its human inhabitants past, present and future.
"This is Polwart’s first piece of theatre, but she’s a natural storyteller and steers a path effortlessly between personal memoir, anecdote, gig, philosophical musings, history and nature lecture. Her language is rich and poetic, and speaks of her deep connection with – and love for – this countryside. 'I’m filled up with space at Fala Moor' she tells us. Its peatbogs are 'the lungs of our land.' " (Read the full review here.)
Now the show has been turned into an album, and it's simply gorgeous: rich in story, myth, lore, and natural history. I've loved all of Polwart's albums, but this one I cannot recommend highly enough to music lovers in the Mythic Arts field.
Above : a lovely little video about the creation of Wind Resistance.
Below: the newly released video for a song on the album, "All of a Summer's Evening."
This is not the first time birds have winged their way through Polwart's songs:
Above is "King of the Birds" from Traces (2012). Below is "Follow the Heron" from Scribbled in Chalk (2006). Both were filmed for BBC Alba.
One more tune to end with today:
"Rivers Run" from This Earthly Spell (2008), filmed in an improptu backstage performance with Steven Powart and Inge Thomson.
For a previous post on the folklore of birds, go here.
Below: "Thaney," performed by Scottish singer Karine Powart at A Christmas Celtic Sojourn in Boston, Massachusetts. Polwart's song tells the story of the legendary Saint Thaney/Teneu/Enoch, whose son, Saint Mungo, is the patron saint of the city of Glasgow.
Above: "January, February (Last Month of the Year)," an American folk carol from Ruth Crawford Seeger's songbook, American Folk Songs for Christmas (1953) -- performed here by Amy Helm (lead vocals), Byron Isaacs, Daniel Littleton, Elizabeth Mitchell, Simi Stone, and Ruthy Ungar.
Below: "The Wexford Carol," a traditional Irish song dating back to the 12th century, performed by American bluegrass singer Alison Krauss and American cellist Yo-Yo Ma.
Above : "River," by Joni Mitchell, performed by American folk & roots musician Anaïs Mitchell and Swiss classical/folk/experimental musician Olivia Pedroli. The winter holidays can be a hard time for many people, for many different reasons. This one is for all who struggle to get through this time of year.
Below, in response to Joni 's melancholy tune: Rick Kemp's "Somewhere Along the Road," performed acapella by Steeleye Span -- a folk-rock band formed in 1969 and still making wonderful music together. This video warms my heart because it reminds me of winter gatherings around the table with my own circle of friends: toasting the seasons as as the years go by...growing older, greyer, slower, yes, but maybe a little wiser too. And still making art rooted in the folk tradition after all these years.
And one last song for the road:
"The Parting Glass," a traditional Scottish song performed acapella by two fine young bands: Kadia and Said the Maiden, filmed beside a Wassail bonfire at the Slindon Estate in West Sussex. Go here if you'd like to learn more about the folkways of Wassailing.
Above: "The Soldier and the Maid" performed by Said the Maiden (Jess Distill, Hannah Elizabeth and Kathy Pilkinton), from Hertfordshire. Their lovely first album, Here's a Health, was released last month.
Below: "Saucy Sailor" performed by Steeleye Span: the groundbreaking folk-rock band of the 1970s, which is still going strong. The singer, of course, is the great Maddy Prior.
Above: "Lovely Molly," beautifully sung by Ione Fyfe, from north-eastern Scotland. The rest of the band is: Luc McNally, Callum Cronin, and Charlie Grey.
Below: "Bonny Light Horseman" performed by another fine Scottish singer, Siobhan Miller. She's accompanied here by Aaron Jones, Jack Smedley, and Euan Burton.
Above: "I Wish the Wars Were all Over" performed by Eliza Carthy and Saul Rose at St. George's Church in north-west London. The daughter of folk stalwarts Norma Waterson and Martin Carthy, Eliza Carthy has been performing traditional and contemporary music since the 1990s, becoming a folk legend in her own right. Saul Rose tours with Carthy, Jim Moray, and performs as a duo with fiddler James Delarre.
To end with: "The Lowlands of Holland" performed by Ye Vagabonds (brothers Brían and Diarmuid Mac Gloinn), from Dublin, Ireland. The video was shot during their European tour with Irish folk/rock musician Glen Hansard, and the ballad itself starts two minutes in. I love these lads, and recommend their Briar & Rose EP (2015) and first full album (2017).
Once again, with the news of the world pressing in, I'd like to begin the week with music that shines a light in the dark -- and the toe-tapping, spirit-lifting music of Laura Cortese fits the bill. Cortese was born San Francisco, studied music in Boston, and now peforms solo and in a variety of musical collaborations -- my favorite of which is her all-women folk & roots band, Laura Cortese and the Dance Cards.
Above: "Stockholm," from the band's fine new abum, California Calling. The video was shot on tour in Scandinavia.
Below: "Women of the Ages," with lyrics adapted from the poetry of John Beaton. The video was made to raise funds for Rosie's Place, Boston, the oldest women's shelter in the United States.
Above: "Shine You No More," a traditional tune re-worked by The Danish String Quartet, from their gorgeous new album Last Leaf. The quartet is: Rune Tonsgaard Sørensen (violin), Frederik Øland (violin), Asbjørn Nørgaard (viola), and Fredrik Schøyen Sjölin (violoncello).
Below: "Gammel Reinlender fra Sønndala," another traditional piece, from WoodWork (2015). I recommend all of their albums, both classical and folk, which get a great deal of play in my studio.
Above: "A Room in Paris" from the Danish/Swedish folk trio Dreamer's Circus: Rune Tonsgaard Sørensen (from The Danish String Quartet, violin), Ale Carr (cittern), and Nikolaj Busk (piano accordion). The song is from their album Second Movement (2015), and the video features the great Danish-Spanish dancer Selene Muñoz.
Below: "Magpie," by the The Unthanks, from Northumbria. The song, written by David Dodds, is based on traditional counting rhymes, and appears on The Unthanks sixth album, Mount the Air (2015).
Above: "Devil's Resting Place" by singer/songwriter Laura Marling, based in London. The song is from her fourth album, Once I Was an Eagle (2013).
Below: "Pretty Polly," a murder ballad performed by Vandaveer (Mark Charles Heidinger and Rose Guerin), based in Kentucky. This traditional song comes from the British Isles, but can also be found in American Appalachian songbooks. It appears on Vandaveer's album of murder ballads, Oh, Willie, Please (2013).
Above: The spooky, folkloric video for "Black Horse" by singer/songwriter Lisa Knapp, from south London. The song appears on her second album, Hidden Seam (2013), and features vocals by James Yorkston.
Below: "La Fille Damnee" (The Damned Girl) by Breton harpist and songwriter Cécile Corbel. The song appears on her second album, SongBook Vol. 2 (2008).
The images today are of Avebury in Wiltshire and Callanish on the Isle of Lewis, photographed by my friend Stu Jenks. Visit Fizziwig Press to see more of his beautiful work.
This week, music rooted in the Nordic folk tradition from Sweden and Norway....
To start with: "Sparvens visa" (about a little sparrow and the coming of winter) by the Swedish folk trio Triakel: Emma Härdelin (from the folk-rock band Garmarna), Kjell-Erik Eriksson (fiddle), and Janne Strömstedt (harmonium). Their sixth and most recent album is Thyra (2014).
Above: "Le Fil" by the Swedish folk duo Symbio: Johannes Geworkian-Hellman on hurdy-gurdy and LarsEmil Öjeberget on accordion. They have one album out, Phoresy (2016), with a second due out next year.
Below: "Et steg ut" by Susanne Lundeng, a Norwegian fiddler and composer who draws inspiration from folk music, classical music, and jazz. In the video below she performs with Bjørn Andor Drage (keyboard) and Arnfinn Bergrabb (percussion) in Bodø, in the north of Norway. Lungen's eighth and most recent solo album is 111 Nordlandsslåtter (2015.)
Above: "Shallow Digger" by contemporary folksinger/songwriter Siv Jakobsen, based in Oslo on Norway's south coast. The song is from her haunting new album The Nordic Mellow (2017).
Below: "How We Used to Love," an older song of Jakobsen's, from The Lingering (2015). I like the glimpses of Norwegian landscape and architecture in this video...plus the very cute dog.
And to end as we began, with a song about a bird:
"Blackbird" by Swedish folksinger/songwriter Jenny Lysander, from her lovely first album Northern Folk (2015). The video was directed by Ana Tortos. Lysander is based in Stockholm.
The art today is: "The Maiden Notburga & her White Stag," a Norwegian fairy tale illustrated by Wilhelm Roegge (1829 - 1908), and "Gerda," from Andersen's The Snow Queen illustrated by Honor Appleton (1879-1951).
Today, songs of love (good, bad, and faery-haunted), rooted in the ballad tradition of the British Isles.
Above: "Orfeo" (Child Ballad #19), performed by the American folk/bluegrass duo Anna & Elizabeth, with a shadow puppet video created by the musicians themselves. This rendition of an old Scots faery ballad is from their debut album, Anna & Elizabeth (2017).
Below: "Polly Vaughan" (Roud Ballad #166) performed by The Furrow Collective at the Halifax Square Chapel in West Yorkshire. The group is composed of four English/Scottish musicians who also have strong solo careers: Alasdair Roberts, Emily Portman, Rachel Newton, and Lucy Farrell. The song is from their second album, Wild Hog (2014).
Above: "Sylvie" (also known as "Sovay" or "The Female Highwayman," Roud Ballad #7), performed by Rachael McShane & The Cartographers (Matt Ord, Julian Sutton, & Dan Rogers). The song will appear on a new album of re-worked ballads in 2018.
Below: "False Lady" (also known as "Young Hunting," Child Ballad #68) by the North London band Teyr (Dominic Henderson, Tommie Black-Roff, and James Gavin). The song comes from their fine first album, Far From the Tree (2016).
Above: "Anyone But Me," a contemporary ballad by the English alt-folk duo Josienne Clarke & Ben Walker, from their second album, Fire & Fortune (2013). The song is performed at The Crossroads in London, a venue which pairs cross-genre musicians with an in-house chamber orchestra and choir.
Below: "Three Fishers," a ballad based on a poem by Charles Kingsley (1819-1923), performed by Fara. The band is composed of Scottish musicians Jennifer Austin, Kristan Harvey, Jeana Leslie and Catriona Price. The song is from their lovely first album, Cross the Line (2016).
The art today is by Florence Susan Harrison (1878-1955). She was born in Brisbane, Australia, but spent much of her childhood at sea (her father was a sea caption) and at a great-aunt's school in England. It's not known where (or if) Harrison formally studied art, but she established a very successful career as an illustrator for the Blackie & Son publishing house (Glasgow and London) from 1905 onward.