Since it hasn’t been that long since Helene Blum’s first real solo album, which had taken several years to record, the appearance of this is a pleasant surprise. More than pleasant, in fact. She uses the musicians from the touring band she shares with her husband, the remarkable fiddler Harald Haugaard (who here also plays some nifty octave mandolin and even contributes a brief vocal, which might well be a first for him).
Much of the material is older, although not from the folk tradition per se, with the exception of the “Julefest” set. Whatever the source, it’s treated with infinite care and beautifully arranged, with the two originals being standouts – “Decembernat” is a beautiful a song as any around and would make an excellent single. There are plenty of little delights here, such as the octave mandolin hook on “Gennem Mary Og Ben” are the lovely delicacy of “Der Er Noget I Luften.” Drawn from so many sources, the sense of continuity between tracks speaks volumes for the work that’s gone into this, making it extremely cohesive. And keep it going for the hidden 10th track that offers a breathtaking mandolin solo.
Saturday 27 November 2010
Dreamers Circus
The debut from this Danish/Swedish trio might be short – it’s just a five track EP – but it bristles with ideas and confidence. Rather tan a new venture it seems as if they’ve been playing together for years. The compositions from Ale Carr are little gems, but it’s the arrangements that give hints at the real maturity here. They’re not a vehicle for any single musicians, but for the band working as a whole. The mix of piano, violin and cittern works surprisingly well and gives them the range to encompass everything from folk to jazz and even into the sort of modern chamber music that’s so European. Yet there’s a real intimacy to everything, a warmth and friendliness. A couple of guests help out, with loveliest contribution coming from Sofia Karlsson, whose gentle, wordless singing on “Idas Farväl” beautifully summing up the melancholy of the track. This is a band with a great future. It’s not folk, it’s not something that sits easily in any pigeonhole. It’s just good music.
Monday 18 October 2010
Various Artists Højbystævnet 2009
Every September in Højby Stævnet in Denmark there’s a festival for dancers. The one-time village is now part of the city of Odense but for a few days it returns to its rural roots. This double CD, recorded at the 2009 festival, captures dance music played by musicians from Denmark, Norway and Sweden. Unsurprisingly, the Danes predominate, with Jensen and Bugge (and Kristian Bugge seems to have been everywhere in Danish music in 2010) and Bøg, while Norway offers the twin fiddles of John Ole Morken and Jørgen Nyrønning and Sweden has Gässbiköllor. While there’s delicacy to the Norwegian contingent, the others are much more about the people out of the dancefloor for a rollicking good time. While most of the pieces are short, Bøg do offer one lengthy set – at over 12 minutes, guaranteed to tax all but the hardiest dancers, who seem to love it. Overall it’s an object lesson in the different ways the Nordic nations make music. Norway is introspective, Sweden a bit more shadowed but still able to kick up a leg, while Denmark is ready, smiling and eager to cut a rug. In the trust sense of the word, this is folk music. Not for everyone, admittedly, but most definitely Nordic roots.
Saturday 25 September 2010
Phønix 20
Phønix
20
Go’ Danish Folk Music GO 0710
Phønix were one of the first bands of the second Danish folk revival, starting life in 1990 and going through several line-ups since, with the most recent and excellent four-piece stable for several years now and producing some superb work, such as this collection’s lead-off track, the previously unlreleased Hvor Du Vender Dig. Several well-known Danish names have passed through the ranks, including fiddlers Harald Haugaard (in the very early days) and Kristine Heebøll, but two folk have anchored the group through its existence, accordionist Jesper Vinther and clarinettist/bass clarinettist Anja Præst Mikkelsen. There are several live tracks here, proof (if needed) that this is a band that can deliver the goods onstage, and with a real dynamism that’s the equal of any rock band (including obligatory percussion solo). As a primer, it’s an excellent guide to the group, who seem to be just getting into their stride after two decades.
20
Go’ Danish Folk Music GO 0710
Phønix were one of the first bands of the second Danish folk revival, starting life in 1990 and going through several line-ups since, with the most recent and excellent four-piece stable for several years now and producing some superb work, such as this collection’s lead-off track, the previously unlreleased Hvor Du Vender Dig. Several well-known Danish names have passed through the ranks, including fiddlers Harald Haugaard (in the very early days) and Kristine Heebøll, but two folk have anchored the group through its existence, accordionist Jesper Vinther and clarinettist/bass clarinettist Anja Præst Mikkelsen. There are several live tracks here, proof (if needed) that this is a band that can deliver the goods onstage, and with a real dynamism that’s the equal of any rock band (including obligatory percussion solo). As a primer, it’s an excellent guide to the group, who seem to be just getting into their stride after two decades.
Afenginn/Frank London
Afenginn are collaborating on a project with klezmer legend Frank London. Those at Womex last year might have seen their joint appearance (which was excellent). This is going to be part of the event known as Global Village DK/NY 2010. There will be performances in Denmark on November 4,5 and 6 (shame it’s not during Womex, but oh well).
This project has been sponsored by the Danish Cultural Ministry as part of its DANY project which seeks to foster artistic relations between Denmark and NY.
Given the way Afenginn has been spreading its musical wings in recent years – working with a choir, scoring a ballet, etc. – this promises to be a very interesting collaboration.
For those wondering what other Danish artists are collaborating with Americans, the answer is Dalia, Lelo Nika and Laila Skovmand, although no details on exactly what they’ll be doing.
This project has been sponsored by the Danish Cultural Ministry as part of its DANY project which seeks to foster artistic relations between Denmark and NY.
Given the way Afenginn has been spreading its musical wings in recent years – working with a choir, scoring a ballet, etc. – this promises to be a very interesting collaboration.
For those wondering what other Danish artists are collaborating with Americans, the answer is Dalia, Lelo Nika and Laila Skovmand, although no details on exactly what they’ll be doing.
Wednesday 1 September 2010
Pørtners Komplot
Pørtners Komplot
Oldefar På Tour
Go’ Danish Folk Music
The four piece known as Pørtners Komplot don’t surface often (this is their second full-length disc) but whenever they do it’s a joy. This CD is based in part on a music book that belonged to the great-grandfather of band member Johan Toftegaard Knudsen, but with a few diversions. They don’t try to recreate the old music. Instead they put their own spin on it. It’s still folk music without any doubt, and indubitably Danish. Boasting nine instruments between them, the quartet can inject different colours and textures. Throughout the play is inspired and joyful (Obo-Polka genuinely floats) and there are moment of wonderful grace, like Genglang Af Nr. 70/Novermbervals. But they can also be completely manic, as on the hopsa På Bjerget. That these are musicians familiar with dance music is beyond question. That they perform it all superbly and with plenty of joyful imagination is evident from a single listen. One of the brightest releases to come out of Denmark this year.
Oldefar På Tour
Go’ Danish Folk Music
The four piece known as Pørtners Komplot don’t surface often (this is their second full-length disc) but whenever they do it’s a joy. This CD is based in part on a music book that belonged to the great-grandfather of band member Johan Toftegaard Knudsen, but with a few diversions. They don’t try to recreate the old music. Instead they put their own spin on it. It’s still folk music without any doubt, and indubitably Danish. Boasting nine instruments between them, the quartet can inject different colours and textures. Throughout the play is inspired and joyful (Obo-Polka genuinely floats) and there are moment of wonderful grace, like Genglang Af Nr. 70/Novermbervals. But they can also be completely manic, as on the hopsa På Bjerget. That these are musicians familiar with dance music is beyond question. That they perform it all superbly and with plenty of joyful imagination is evident from a single listen. One of the brightest releases to come out of Denmark this year.
Wednesday 25 August 2010
Falgren Busk Duo
It’s not strictly a Danish folk release, but Duet by the Falgren Busk Duo (that’s Bjarke Falgren and Nikolaj Busk to us lesser mortals) certainly is a joy. Violinist and violist Falgren comes from jazz while Nikolj Busk is perhaps best-known for his work in Trio Mio and with Sussie Nielsen. It’s a beautiful set of miniatures that seems to owe much of its inspiration to contemporary northern European classical music, with strands of folk in there, as well as some delicious jazz improvisation. The basis of many of the pieces might be relatively simple, but that bared-down simplicity is much of the joy here. Both are superb musicians and it’s lovely to here Busk given some room to play (a solo album is definitely in order). The brevity of the pieces gives them a jewel-like quality, and there sweet melancholy in something like “Song For Aly,” where the piano and violin – you can hardly call it a fiddle here – trade off. The deliciously whimsical drawings of the cover and booklet set it all off well . You can hear folk music peeking through here and there in the themes, but it’s just one slender strand in something that happily stands outside genre. Rarely does the disc stand out as being especially Nordic, but what is readily apparent is the meeting of minds here, a fertile common ground. It’s melodic, but also takes chances and showcases the compositional skills of both men (as well as some prodigious but understated technique). Absolutely lovely.
Monday 16 August 2010
Unsung Heroes
Every music has its unsung heroes, and contemporary Danish folk in no exception. Two people who have had a huge hand is breaking Danish music globally are Morten Alfred Høirup and Erling Olsen, and they deserve a mention.
Although Morten Alfred Høirup is still best known as half of Haugaard & Høirup, a duo that split up two years ago, his involvement with Danish folk music is far, far deeper than that. Of course, he started young, working with his father, the great Fin Alfred. But these days he’s pretty much everywhere. There’s his online radio show which spreads the Danish gospel, his work with Danish Roots for the World, as well as his own music, including the excellent duo with Sonnich Lydom, his journalism, and his own music.
To all intents and purposes he’s the ambassador for Danish music, and he’s an ideal one. A supremely generous person, both with his knowledge and his time (not to mention letting people stay with him), he’s a fount of knowledge about Danish music (and a lot more – try him on cooking) and always eager to share. But that sharing is a joy for him. This is his music, it’s part of him. Look at Danish CDs and so many artists thank him, for his advice and support. It’s all done quietly, but that’s the most effective way. Without his quiet brand of cheerleading Danish music wouldn’t be known the way it is.
Erling Olsen has lower profile, but what he’s done for Danish music has been vital to its resurgence. His label, Go, has released most of the folk music that’s appeared in the last 15 years. An unassuming man (and musician himself), he releases this music because he believes in it and loves it (well, it’s not for the vast profits!). He performs an important service to the music, working behind the scenes and releasing so much excellent music that deserves to be heard.
Neither of these two receives enough credit. Many won’t even have heard of them or have much idea how much they’ve contributed. But they deserve more of the spotlight.
Although Morten Alfred Høirup is still best known as half of Haugaard & Høirup, a duo that split up two years ago, his involvement with Danish folk music is far, far deeper than that. Of course, he started young, working with his father, the great Fin Alfred. But these days he’s pretty much everywhere. There’s his online radio show which spreads the Danish gospel, his work with Danish Roots for the World, as well as his own music, including the excellent duo with Sonnich Lydom, his journalism, and his own music.
To all intents and purposes he’s the ambassador for Danish music, and he’s an ideal one. A supremely generous person, both with his knowledge and his time (not to mention letting people stay with him), he’s a fount of knowledge about Danish music (and a lot more – try him on cooking) and always eager to share. But that sharing is a joy for him. This is his music, it’s part of him. Look at Danish CDs and so many artists thank him, for his advice and support. It’s all done quietly, but that’s the most effective way. Without his quiet brand of cheerleading Danish music wouldn’t be known the way it is.
Erling Olsen has lower profile, but what he’s done for Danish music has been vital to its resurgence. His label, Go, has released most of the folk music that’s appeared in the last 15 years. An unassuming man (and musician himself), he releases this music because he believes in it and loves it (well, it’s not for the vast profits!). He performs an important service to the music, working behind the scenes and releasing so much excellent music that deserves to be heard.
Neither of these two receives enough credit. Many won’t even have heard of them or have much idea how much they’ve contributed. But they deserve more of the spotlight.
Wednesday 11 August 2010
Projekt Dialekt
For the first blog entry, it’s not a CD review, but thoughts about a DVD. Mette Kathrine Jensen and Kristian Bugge (collectively known as Jensen & Bugge, an accordion and fiddle duo who perform together regularly) had been working on Projekt Dialekt for quite a long time, and it’s finally seen the light of day.
It’s traditional music and dance from four distinct regions of Denmark – Læsø, Fanø, Vestjylland (West Jutland) and Thy. The dance aspect is every bit as important as the music as different areas have their specific dances, which are perfectly illustrated here. Not in a dry documentary fashion, but from the musicians (with local accompaniment) playing for a night of dancing.
Add to that recollections of dancers (especially charming are Doris Thygesen’s memories of dances on Fanø just after the war) and you have a package that explores a very significant part of Danish music.
Much Danish music (tunes, not songs) is intended for dancing, even in the old notebooks of fiddlers that are the basis for some of the music being made nowadays. Unlike its darker Swedish counterpart this is music for twirling the partner with the head up. Many of the origins lie in 18th century English music, but the tunes themselves develop and take on local flavour, with variances from region to region (and kudos for including the venerable Karl Skaarup playing, as well as Vagn Dahl Hansen, another veteran of dance music, and Sonnich Lydom). There has to be a swing to it to make it danceable. That swing is a common factor internationally, and it’s certainly present here.
The Danish dances aren’t always easy (as I once discovered; Kirstine Sand was an excellent teacher but I was a hopeless pupil), but well-performed they have real grace, and the dancers here obviously love what they’re doing. The truly encouraging part is that a fair number of those out on the floor are young, so the traditions won’t quickly die away.
Project Dialekt is something that’s eminently satisfying. It gives a context for everything, a feel for local history, for time and place. Musically it’s all wonderfully smooth and played with gusto and pleasure. It helps to preserve things, which is no mean feat, and serves as a reminder that traditions are living things, not to be left in museums
It’s traditional music and dance from four distinct regions of Denmark – Læsø, Fanø, Vestjylland (West Jutland) and Thy. The dance aspect is every bit as important as the music as different areas have their specific dances, which are perfectly illustrated here. Not in a dry documentary fashion, but from the musicians (with local accompaniment) playing for a night of dancing.
Add to that recollections of dancers (especially charming are Doris Thygesen’s memories of dances on Fanø just after the war) and you have a package that explores a very significant part of Danish music.
Much Danish music (tunes, not songs) is intended for dancing, even in the old notebooks of fiddlers that are the basis for some of the music being made nowadays. Unlike its darker Swedish counterpart this is music for twirling the partner with the head up. Many of the origins lie in 18th century English music, but the tunes themselves develop and take on local flavour, with variances from region to region (and kudos for including the venerable Karl Skaarup playing, as well as Vagn Dahl Hansen, another veteran of dance music, and Sonnich Lydom). There has to be a swing to it to make it danceable. That swing is a common factor internationally, and it’s certainly present here.
The Danish dances aren’t always easy (as I once discovered; Kirstine Sand was an excellent teacher but I was a hopeless pupil), but well-performed they have real grace, and the dancers here obviously love what they’re doing. The truly encouraging part is that a fair number of those out on the floor are young, so the traditions won’t quickly die away.
Project Dialekt is something that’s eminently satisfying. It gives a context for everything, a feel for local history, for time and place. Musically it’s all wonderfully smooth and played with gusto and pleasure. It helps to preserve things, which is no mean feat, and serves as a reminder that traditions are living things, not to be left in museums
Tuesday 10 August 2010
It's seven years now since I really began to discover Danish music. Prior to that I know one band - Sortlen Muld - whose work I had enjoyed. 2003, when a magazine commissioned me to write a long piece about Danish music, began a journey that's continued, a love affair with Danish folk music, with Denmark itself (and even with Danish literature).
I've been to the country several times since then, and made a number of very dear friends in the music world there. I've listened to a lot of Danish music, written extensively about it, and even come to understand it somewhat. I've tried to become a champion of it because it moves me and I want others to know about it, to find the same deep joy it's given me.
This will be an occasional blog - there won't be postings every day. But there will be reviews of most of the Danish music that comes my way, with other pieces, too, as time allows. Maybe others will come to enjoy this music, too.
I've been to the country several times since then, and made a number of very dear friends in the music world there. I've listened to a lot of Danish music, written extensively about it, and even come to understand it somewhat. I've tried to become a champion of it because it moves me and I want others to know about it, to find the same deep joy it's given me.
This will be an occasional blog - there won't be postings every day. But there will be reviews of most of the Danish music that comes my way, with other pieces, too, as time allows. Maybe others will come to enjoy this music, too.
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