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October 3, 2011

Right then, let’s talk VCON

solarbird and I love us some Vancouver, and we hadn’t been up there since going to see my beloved B’ys last year for the Olympics show–so we were sorely wanting even the slightest excuse to scamper up there for the weekend. VCON handed us that excuse in spades. It turned out that the convention was great fun in its own right, and assuming I have enough spare vacation time next year, we are totally coming back.

I took this past Friday off from work so that we could go up on the morning train, which required us to get up at stupid-o’clock. This would have been easier if I hadn’t had to work for four hours on Thursday night, and if I hadn’t had to spend most of the train ride up working on this year’s employee review–but even given that, and even given that we were operating on four hours of sleep, it was still quite nice to roll into Vancouver. We were kind of silly about not planning the arrival better, as we wound up missing an opportunity to go to the HMV earlier than planned. But that was all good. We dropped our stuff off at the hotel and then went right back out again for two Extremely Critical Missions!

One was me going to the HMV in downtown Vancouver, which, as I’ve mentioned in my previous post, is my current Vancouver source for Francophone music. I was disappointed to not find the live Les Charbonniers de l’Enfer DVD, but quite happy to find the Le Vent du Nord Symphonique album! Along with that, as per the recommendation of scrunchions, I also grabbed En Famille by Mes Aieux, and Dara got herself a Barenaked Ladies album she didn’t have yet. AND! I grabbed the season 1 DVDs for Republic of Doyle. I really hope I like it, because I’m buying it sight unseen here, just to work my way up to Alan Doyle’s guest spots in season 2!

The second, even more critical mission was this: hitting this place for OMG SO VERY, VERY TASTY rosemary and rock salt bagels. Dara bought every single one they had available, which meant thirteen of ’em. Because SO. SO. GOOD. We are given to understand that these are in fact Montreal-style bagels, and that the shop was founded by a guy who brought that style of bagels to Vancouver. This pleases me immensely, because if Dara and I do make it to Montreal during the Trainventure, we now know to expect to find awesome bagels.

Then we settled down to the business of actually attending the convention.

Continue reading “Right then, let’s talk VCON”

October 3, 2011

Le Vent du Nord Symphonique album review!

Here’s another thing I’m going to do a whole separate post about from this week’s Vancouver goodness: while I was up there, I made a very specific point of ducking into the HMV in downtown Vancouver, my current only source for Quebecois music when I go up there. And much to my pleasure, they had the one remaining Le Vent du Nord album I didn’t have yet: Symphonique, which is Le Vent du Nord pretty much doing a full concert backed up by the Quebec Symphony Orchestra! As both a newly minted LVN fangirl and a piccolo player who still has very fond memories of her high school days in concert band and wind ensemble, it’s my beholden duty to do a proper review post of this album.
I have only minor quibbles with it, and they mostly have to do with the mixing of the LVN instruments vs. those of the orchestra behind them. As a casual listener it’s not clear to me what the musical intent here is: whether LVN should be seamlessly blending with the orchestra, or whether you should still be able to distinguish, oh, say, Olivier Demers’ violin vs. the violin section in the orchestra. It’s easier with Nicolas Boulerice on the hurdy gurdy, since the sound is so distinctive. But I frequently lost M. Demers’ violin against the rest of them, as well as his footwork. In some places as well, such as in “Rosette”, the boys’ vocals were a bit overwhelmed by the orchestra.
And I’ll say right out that although I adore “Cre-mardi”, and while the orchestra did perfectly decent punctuation to the rhythm of the song, it just didn’t sound nearly as awesome as when it’s done as a proper crowd-rousing foot-stomper–like in this video right over here! That song right there is very specifically why I want to see LVN live, since it’s so far their liveliest, audience-participation-iest song, and I am quite prepared to hey-up-a-diddle-um-day-da right back at ’em. ;)
But really, these are fairly minor quibbles. On several of these tracks, the orchestra actually blends quite beautifully with the band. The instrumentals in particular are awesome: “L’heure bleue”, and “Petit reve III”. On those tracks, they achieve the exact right balance between the band’s instruments and the orchestra’s. “Elise” and “Les amants du Saint-Laurent” work well as examples of tracks where the orchestra enhances the overall flavor of the song, and where they don’t overwhelm the band’s vocals.
Also, I have to give the album mad props just for being the only current recorded version of Simon Beaudry singing “Vive l’amour”, since the studio version of this song was done before he joined the band. And on LVN’s previous live album, Mesdames et messieurs, they brought back the original guy who sang lead on that track for that performance!
And while we’re on the topic of M. Beaudry, his other major song on this album is “Lanlaire”, which as y’all know I’m already strongly partial to. So I made a point of listening more closer to this song than several of the others–and I do quite like the drum strikes in the background on the second verse. Well done back there, timpani player! And since I’m trying to commit M. Demers’ nameless bridge/outro bit to memory, I also noted that the orchestra did not fully accompany him on those parts, but they did echo him on several passages nicely. There’s some nice swooping from the strings back there, too.
Someone–either M. Demers or else a soloist from the violin section, it’s not clear to me which since it’s not called out in the liner notes, and I don’t know the original studio version well enough to say for certain yet–has a nice bit in the middle of the second to the last track: “Octobre 1837”. In the bridge in the middle, the performer does some tricky-sounding descending syncopation with his fiddle on top of the rest of the instruments, and gets some well-deserved applause right in the middle of the song after that. Well done there, whoever you were!
M. Boulerice fares the best out of the band in the overall mix, I think. His voice is more powerful than M. Beaudry’s, so he stands out better against the orchestra–and for that matter, so does his hurdy gurdy. (Also: as a former symphonic band student, I have to just giggle my head off at the mental image of the first chair of the hurdy gurdy section. But really, do you need more than one? XD )
Checking the liner notes on the album, I see that Airat Ichmouratov was apparently doing the conducting of the orchestra, and I see a total of 23 violin players, 8 viola players, 8 cellists, 5 double basses, two flutes (woo! flute section represent! And one of them’s a piccolo player! / ), two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, one low trombone, one tuba, one timpani, two people on general percussion, and one harpist. So that’s 67 people, a pretty good-sized orchestra! I am now definitely curious about whether they’ve got some recordings of their own, and I may need to seek them out.
All in all I’m very pleased to have found a copy of this album and I’d definitely recommend it to anyone interested in the band. In several ways I actually like this performance better than the other live album, just because the orchestral angle is of more musical interest to me–though if LVN ever do a rowdier live album, I’ll be much more interested in that!

September 29, 2011

Starting to feel like a proper piccolo player again

When I play piccolo in session, I typically hang out in my lower octave–which, for those of you who are musically inclined, is notated at starting at D above middle C on the staff, i.e., the D just below the bottom of the staff. BUT: that’s actually an octave up from a flute playing the same octave, because a piccolo’s pitched an octave up from a standard concert C flute. So if I’m hitting what’s written out as a D above middle C, I’m actually hitting a D that’s an octave up from that.
Because it’s been so long since I regularly played piccolo, I’ve been staying in that octave for a couple of reasons. One, I haven’t yet regained my old ability to not get louder if I get higher–and a piccolo playing higher notes is pretty damned high. Two, my embouchure also hasn’t been steady enough to not only hit those notes, but hit them cleanly and purely, which is vital on the piccolo. I hit a higher note wrong, you will be able to tell. And the last thing I want to do in session is be the person hitting the obvious high, squeaky notes. *^_^*;;
But this is starting to change. Thanks to regularly going to session–and, more importantly, regularly practicing at home every few days–I’m starting to get my proper piccolo embouchure back. We finished up last night with “Da Slockit Light”, which gets up into what’s written out as my middle octave (which is the third octave on a flute). I was quite happy to get some good notes out up in the neighborhood of G and A! I did notice I was slightly flatter in that octave than I am in the lower one, though. Not sure yet whether this is because I still need to improve that embouchure or if my piccolo needs some tuneup work, or both.
Meanwhile, a fiddle player I hadn’t met yet (I don’t know if she’s new to the Renton session or if she just hadn’t been there when I’ve been before) gave me an awesome pointer. I told her I was learning several tunes off of sheet music since that’s where my background is, and I’m not as solid learning things by ear. She recommended I record myself playing various tunes I’m interested in, reading off of sheet music if need be, and then work on learning the tunes just by listening to myself play. Which sounds like an awesome idea, and I’m going to have to try that!
Note also: “Da Slockit Light” is a gorgeous little tune, and I’m going to have to learn it properly. It’s also got a bit of “aww” with its origin. It was written by Tom Anderson, and according to that Wikipedia page, “Slockit” means “extinguished”, and the title is a reference to people moving away from the area where he grew up.
Also noted from last night’s session: “Dunmore Lasses”, “Out on the Ocean”, and “Kid on the Mountain” are my latest additions to TunePal. Once I get a better handle on more of the tunes in Matt’s PDF, I’m going to start burning through the TunePal set as well!

September 26, 2011

Most awesome fiddle player of the week

Y’all remember I was gushing over “Lanlaire” by Le Vent du Nord, right, and in particular over this video of it?
That vid was super-handy in letting me figure out a few things about the song. As I’d posted before, I was able to follow the melody on my piccolo and from there figured out what key it was in. Seeing Simon Beaudry’s guitar in the vid let me figure out what set of chords he was using–i.e., that he’s got to be using D minor chords if he’s capoed on 5. (Me, I punted to E minor chords capoed on 3, which are a lot easier for me; D minor is still giving me issues if I try to play chords at any given speed.)
What I could not figure out from the video, however, is what fiddle player Olivier Demers is playing on the bridge and on the outro; he’s playing too fast for me to follow. I tried letting TunePal on my iPad listen to the recording, and it had no idea what the tune was–which is not terribly surprising, since TunePal, helpful though it is, is fairly scattershot about how well it picks up on stuff.
Turns out though that there’s a reason it had no idea what that tune was.
See, I sorta kinda emailed M. Demers and asked him about the tune. *^_^*;; The LVN boys have email links on their bio pages on their site, so I looked at Olivier’s page on Saturday, went .oO (what the hell) to myself, and clickied! Told the gentleman I was a newbie session player and a new LVN fan, and asked if he could identify the tune for me so I could maybe look it up online and learn it. (Because it’s either that or I try to transcribe it, and then learn it that way, which’ll take me a lot longer. Because I can’t play by ear well enough to try to pick out a tune without the intermediate step of transcribing it out first.)
He emailed me back! And said he actually wrote the tune himself for the song! And said he’d send me the sheet music later since he didn’t have it on that computer!
I’ve heard from a couple different directions now (hiya, !) that the LVN boys are sweethearts, and this is clear proof. Olivier Demers for me is now this week’s most awesome fiddle player! I’m going to be fangirlishly squeeing about this all week, so y’all be warned. And then I’m going to see if I actually can transcribe the tune, because it’ll be an amusing exercise, if sheet music actually shows up in my inbox, to compare against it and see if I can get it right!
*squee!*

September 23, 2011

Too much awesome for one band alone

All this starts, as many things musical do for me, with Great Big Sea! As I’ve mentioned, the first time I saw GBS perform, La Bottine Souriante was part of that show. At the time they were nine members strong, and I was almost as blown away by them as I was by GBS.
Also from GBS, I get to La Volée d’Castors. I found them thanks to a thread along the theme of “if you like Great Big Sea, you’ll also like ” on the OKP, though it took me some time to actually do anything about it–i.e., to find their music, see if I liked it, and actually buy it! I’m just sorry I didn’t find them sooner. :D
From LVC I get to Le Vent du Nord, because I found Le Vent buying LVC albums on iTunes. LVN popped up in the list of ‘people who bought this also bought’ albums. It turns out also that Réjean Brunet, current member of Le Vent, also used to be in LVC!
Les Charbonniers de l’Enfer I also discovered on iTunes when I started buying LVC and LVN albums. Again, it took me a bit to actually decide to buy their stuff–but I decided this was clearly Important when I read their web page and discovered a) they’re an a cappella group, and b) two of their members are former La Bottine Souriante guys! One of them in particular, Michel Bordeleau, was in La Bottine when I saw them perform in 2000.
De Temps Antan and Galant, Tu Perds Ton Temps are my most recent acquisitions, thanks to M Kenney, who’s dropped me several comments on the topic! De Temps Antan are connected both to La Bottine Souriante AND to Le Vent du Nord, since all three guys in De Temps are either current or former La Bottine members–and Éric Beaudry is of course the brother of Simon, over in Le Vent.
The Beaudry boys are connected back to the Charbonniers, since André Marchand, current Charbonniers member, produced their album Le sort des amoureux for them.
The Galant girls are also connected to LVN, since M Kenney informs me that they, Le Vent, and the Charbonniers have all performed together, doing a song called “Diable et le Fermier”, written by Nicolas Boulerice of Le Vent. Here it is, on YouTube:
[youtube https://www.youtube.com/watch?v=CfSEbwvefB0&w=560&h=315]
Long story short, clearly all the best bands in Quebec are tied together in one great big web of AWESOME. I love that! And I’ll be amused to see how many more ways I can find to tie all these groups together, and if there are other groups in the web as well!

September 20, 2011

Quebecois GIRLS can bring it too

Thanks to M Kenney, who clearly knows where all the best Quebecois music is, I now have yet another awesome band recommendation: Galant, Tu Perds Ton Temps! They’re an all-female (aside from their percussion guy), all-vocal group, like the Charbonniers, and I’ve now found both of their albums on iTunes and am happily blazing my way through the samples. I will totally be buying these.
Also, their band name makes me giggle and giggle and giggle. If I’m translating it correctly, it’s something like “Suitor, you waste your time!” Bwahahaha! XD
They unfortunately do not appear to be on CD Baby, for those of you who are not iTunes-inclined, and Amazon’s US site only shows them as import CDs. Amazon’s Canadian site has them for slightly cheaper prices, but shipping costs may offset that. Archambault.ca has them though, and if you want to order from somewhere that isn’t iTunes or Amazon, go there and search for “galant tu perds ton temps”. They have MP3 samples for listening, though you can only buy the CDs if you’re outside of Canada.
Check ’em out, y’all!

September 19, 2011

Good gods, I just wrote a song!

Okay, it’s official, Quebecois trad just muscled its way closer to Great Big Sea in my affections, because it just made me commit an act of filk. I blame the album I just bought by De Temps Antan for this, specifically the track “Jeune et Jolie”. The tune for this isn’t an exact matchup to that song, but the rhythm is totally pulling from that. Muahaha.
I think this is probably either in G or D, 6/8 time, and should be sung with as much vigor as possible. I’m totally hearing it as a drinking song in my head. And now, I give you…
“Quebecois Boys”
Some girls like to rock with electric guitars
Some girls like their operas sublime
Some girls like the rappers, or metal, or country
But none of this music is mine!
Oh the north wind is blowing, and I want to follow
Where it leads me to tales of times past
Where beavers are flying, and coalmen from hell
Rouse my boots to be smiling at last!
(chorus)
And it’s sing to me, Quebecois laddies, oh sing to me
Sing to me, Quebecois boys!
You could spend seven verses on the Montreal phone book
And I’d think you’d still sound quite grand
As long as you’re tapping away on the board
And you’ve got a bouzouki in hand!
So warm up your fiddles, break out your accordions
Play till the morning has dawned
Let’s dance to the reels and sing sweet turluttes
Till the wee hours of evening are gone
Sing to me, Quebecois laddies, oh sing to me
Sing to me, Quebecois boys!
(bridge here)
They say we American girls have no culture
But I say the doubters are wrong
For music transcends all the borders of language
And makes the soul rise up in song
Vertical movement requires no translation
For this Anglophone southern-bred gal
But teach me your lyrics, boys, and see just how fast
I’ll engage dans la danse verticale!
And it’s sing to me, Quebecois laddies, oh sing to me
Sing to me, Quebecois boys!
(no instruments, and layer the English with the French for this a cappella bit)
Sing to me, Quebecois laddies, oh sing to me
(translation, four measures after)
Sing to me, Quebecois laddies, oh sing to me
(translation)
Sing to me, Quebecois laddies, oh sing to me
(translation, and hold out the final French word for a couple extra measures before returning to the English)
Sing to me, Quebecois boys!
(four beats of stomping, and then this should kick into a reel in the same key, with as much dangerous podorythmie as possible!)

September 18, 2011

Zouk practice!

As of this weekend I can say that I can reliably more or less play, without PDF assistance, five tunes: Banish Misfortune, Road to Lisdoonvarna, Swallow’s Tail Jig, Morrison’s Jig, and Si Bheag Si Mhor. I’ve spent some time on Shine specifically trying to play through Lisdoonvarna and Swallow’s Tail and Morrison’s, since Matt likes to link those up in a set at session.
But! I’ve also broken out my bouzouki for the first time in a while. For a variety of reasons!
For one thing, this gorgeous fellow over here is enough to make any amateur bouzouki player go YES I’d like to do that, please!

For another, and more importantly, I’ve wanted to actually learn proper fingerwork on the bouzouki and big mand for YEARS NOW, and Session is finally giving me motivation to do so. I look at the musicians who know what they’re actually doing at session, and note how they’re able to switch happily off between this instrument and that. I want to do that. I HAVE THE INSTRUMENTS. So I clearly need to practice these tunes on multiple ones. Because if I have the instruments, I should be PLAYING them.
My friend said something to me on Facebook as well which really resonated with me: i.e., how it seems to her that I have found “the heartbeat that nurtures your soul”. Irish/Celtic trad, especially the branch of it in Atlantic Canada and Quebec, is exactly that. It’s exactly the same reaction I had when I first saw Great Big Sea way back when and something in me said THAT! I WANT TO PLAY THAT!
It nurtures my soul indeed to be reminded of this. \0/
And this, by way, is my bouzouki! Her name is Spring. Say hi, Spring!

So today, in addition to practicing the aforementioned five tunes on Shine, I got out Spring as well and staggered my way through Banish Misfortune. I’ve got a mandolin fakebook with a whole lot of tunes in it, and since Spring and my big mand Autumn are both tuned to GDAE, I can use the fakebook to slowly pluck out the tunes on them both. I’ve already used that fakebook once to try to learn Swallow’s Tail REEL on Spring–and now it’ll be wonderful to start finding more of the tunes we play in session, too. I’m not sure yet whether Spring or Autumn will wind up being my stringed instrument of choice in session, we’ll have to see–another person showed up last time with the same model mand that Autumn is (a Trinity College), so I think I’ll favor Spring for a while. Spring’s got more responsive strings anyway!

September 17, 2011

Le sort des amoureux: Album review post!

Just finished listening to Le sort des amoureux, the album by Éric and Simon Beaudry! This was fun. Lower-key than much of the Quebecois music I have now, but fun nonetheless.
Éric and Simon trade off singing lead vocals on the various tracks, and I’m beginning to see that while they have very similar voices, I can in fact tell which one is singing when, even without consulting the liner notes. I’ve come to know Simon’s voice well of course from the tracks he sings lead on for Le Vent du Nord, even though there are only a few of those, so that’s helpful! I prefer Simon’s voice; it’s got a bit of a darker, richer flavor to it. But that said, Éric sings very well too. (This, I note, is pretty much what I can say about both of their singing voices when I don’t speak French–it means I punt back to thinking about the character of the voices doing the singing, instead of the actual words. Which is actually kind of fun in its own right.)
Note also: the title track, “Le sort des amoureux” (“The fate of love”, according to Google Translate), has the Beaudry boys singing together a capella. NICE. They sound rather haunting together, and while they don’t sing with the force of the lead singers in their other bands (Nicolas Boulerice, I am looking at you, monsieur), they blend very, very well.
Meanwhile, though, I also have to give the album high marks for significant levels of bouzouki! All video evidence I’ve been able to find to date suggests that Éric may actually have more bouzouki awesome in his musical arsenal than Simon does–but this is only because I’m seeing vids of Éric playing bouzouki as a lead instrument, including doing some really nice fingerwork, vs. Simon playing bouzouki as a rhythm instrument. The liner notes on this album, anyway, are crediting the zouk specifically to Éric. And that’s all good. I REALLY like the zouk on these tracks; it stands out very clearly, and gives it a flavor I do not actually get from most other albums I’ve got, Quebecois or otherwise!
There are several guest musicians here too, so it’s not just the Beaudrys. In particular, I’m noticing the name of André Marchand showing up heavily in the credits of the liner notes–who I now know as one of the members of Les Charbonniers de l’Enfer, and a former member of La Bottine Souriante, as I posted about before! (He apparently produced this album for the Beaudrys, and if this is an example of his production prowess, I can only say ‘well done, monsieur!’) The second to last track is all instrumental, and has seven people total playing on it, so the energy kicks up closer to what I hear from oh, say, Le Vent du Nord. High bouzouki there too. :D
The last track in particular is also noteworthy. It’s also a capella, and is in fact sung by an 81-year-old (at the time of recording) lady named Clémence Gagné. If I understand the translation I’m getting off the liner notes correctly, she apparently taught the Beaudrys this song, and they invited her to sing it on the album. Éric sings along with her. Aw. <3
Last but not least: the album artwork's really kind of adorable! It's got this whole Chutes-and-Ladders-like motif on the front of it, only instead of chutes, there are a couple of snakes! And there are some cute little sketches of a guy and his sweetheart, including one charming little one of him holding out a bouquet of flowers to her. I'm glad to have a physical copy of this CD for the artwork alone–but also because lyrics are provided on the liner notes, which is extremely helpful given my lack of French, as it means I can try to translate them.
So yeah. Generally recommended for anybody who likes trad in the general category of "laid back and groovy, with a bit of blues and country twang to it", as well as anyone who likes the sound of French lyrics! If you're in the US and you want the album, CD Baby is your friend. This particular album’s CD-only, but the CD Baby page does have listenable samples, so check it out!
And the Beaudrys’ site for the album lives right over here. You can see the aforementioned adorable artwork on the landing page! (Note that while they have a button for French and a button for English, only the French one actually works. But you can always load the site up in Chrome and have it translate for you on the fly!)
ETA: Spelling of album title corrected! Oops!
ETA #2: says the title is correctly translated to The Fate of Lovers, which makes better sense, and goes very well with the aforementioned adorable artwork! Thanks, !