Search - Celtic Fiddle Festival :: Play on

The best since the first one....

o dubhthaigh | north rustico, pei, canada | 03/17/2005

(4 out of 5 stars)

"... and while I have a bias towards the first (cf. the credits), I have to say as objectively as I can that this is as good as that one. CFF is a live act, and this line-up represents the fourth version of the ensemble. Out of the starting gate, Burke, Cunningham and LeMaitre were quite competitive (ask Pete the engineer or L.Fetters) and that made for an incredible evening of music, especially with John McGann on board. Having nearly resulted in multiple homicide, though, thebaton was passed to Natalie MacMaster, Brian McNeil and Martin Hayes with Tony McManus on board with guitar. That was the 5 star line-up. Unfortunately, they were not recorded, one of the rare vapour-locks in Green Linnet's history. Recognizing a franchise when they saw one, B & C & L reformed with Ged Foley, late of England's House Band on board for the 6 string rhythm work. The ensuing CDs from this line up gradually became more showcases for party-pieces and grandstanding than evoking anything inspirationally creative.

Death has a way of changing that. Cunningham passed tragically at a younger age than his countenance would suggest. It was a loss that took from Scots' music its very best fiddle player. He had been the one who jump started the renaissance of the tradition, much as Burke had been there with the Bothy Band as Irish music found a new life. But the fire in this line-up was fairly dim. Only LeMaitre seemed willing and able to reconsider what his tradition could articulate. All the same, Johnny's loss was profound.

This new configuration brings La Bottine Sourriant's Andre Brunet to the lineup, and brilliantly underscores the Breton-Quebecois connection. Burke isn't so much relegated to the sidelines as actually given an opportunity to stretch again as he hasn't in ages. He's terrific. The chemistry here works toward LeMaitre's strong suit and he takes the reins as he always has in concert, with subtle and supple power and grace. Brunet takes the melancholis soul of Le Maitre and adds the joie you'd find in LBS or Ad Vielle Que Pourra or any street musician in Vieux Quebec worth his sel. Foley holds down the rhythm with assured skill.

Playing before Burke's hometown audience in Portland also brings out the best in the three of them, and one wonders how the dynamic might shift were the recording made in Aylmer, Richelieu or Quimper. No matter, the goods are delivered here, and along with Altan's LOCAL GROUND, this is a very welcome release during the Yanks' green sweater season."

Spread the Love

V. Hughes | Raleigh, NC USA | 03/03/2006

(5 out of 5 stars)

"This is an awesome awesome awesome CD! I loaned it to someone who loaned it to someone else who loaned it to someone else and I can't seem to get it back. I'm probably going to have to order another. Oh well, at least I'm contributing to the betterment of society!"

A fine fiddle

J. TIMMERMAN | Lawson, NSW Australia | 04/21/2005

(4 out of 5 stars)

"The Celtic Fiddle Festival is a live ensemble comprising Kevin Burke, Christian Lemaire and new member Andre Bruent on fiddles with Ged Foley on guitar and fiddle. This album is their dedication to one of the founding members of the band, fiddler Johnny Cunningham, who sadly passed away in December 2003. Johnny had a special warmth in his playing and his passing was a great loss to the traditional folk scene.



The tracks chosen on this the band's fourth album derive from a wide range of sources and include traditional tunes from Quebec, Brittany, Eastern Europe and Ireland, and tunes written by Johnny Cunningham, Jerry Holland and Turlough O'Carolan among others.



It's a lively lyrical affair jam-packed with medleys and airs that display the immense talent and solid partnership of these great musicians. Despite the instrumentation being rather one-sided, it works well and doesn't really leave one wishing there were other instruments as well.



The recording quality is clear and full, and the high relative recorded level of the music means the audience is totally unobtrusive.

"