The Edmonton Folk Music Festival took place August 10-13 at Gallagher Park. Known for its diverse selection of musical artists, this year in particular there was an eclectic assortment of acts from different countries and cultures.
On the first night of the festival, things got kicked off with Solo. The name was ironic: the band was composed of numerous members of two of Quebec's most well-known traditional groups, Le Vent Du Nord and De Temps Antan. Their performance was exciting, with the sound heavy on fiddles and stomping.
Solo
Solo
Next up was Lakou Mizik, a collective of musicians from Haiti from different generations. The group formed in the wake of the 2010 earthquake that devastated Haiti. Consisting of vocalists, rare horns, guitars, accordion, and percussion, the music and stage performance (which was very physical) captivated the Thursday night audience.
Lakou Mizik
Lakou Mizik
Lakou Mizik
Lakou Mizik
Unfortunately, the evening had to be called to a conclusion early, as a sudden and severe windstorm resulted in the last two performances being cancelled, and the park evacuated. Shakey Graves and The Decemberists have been invited back to perform at the 2018 festival.
The Thursday evening sky.
With their traditional instruments made by the band itself, and captivating throat singing, Huun Huur Tu's sound was mesmerizing. The band is from Tuva, a very small country on the Mongolia-Russia border.
Huun Huur Tu
Edmonton's Mohsin Zaman, originally from Pakistan, has become a driving force in the local music scene and was named the Folk Fest's first Artist in Residence.
Mohsin Zaman
A number of Indigenous acts appeared at this year's Folk Fest. From the Treaty 6 land upon which the Folk Fest takes place was the Logan Alexis Singers and friends, presenting a variety of singing, drumming, and dance styles. During their concert performance on Sunday, they had the audience up on their feet for a round dance.
Logan Alexis Singers
Logan Alexis Singers
Round Dancing
William Prince is a folk/country singer/songwriter from Manitoba whose First Nations roots are very evident in his lyrics.
William Prince
The Jerry Cans, from Nunavut, had Stage One in a dancing frenzy during their Saturday evening concert. Inuit throat-singing and traditional language of Inuktituk mixed with their roots-rock sound.
The Jerry Cans
Taking the afternoon main stage on Sunday was Amadou & Mariam, a couple from Mali who met at a school for the blind. Mariam's vocals and Amadou's incredible guitar work soared through bluesy, danceable songs.
Amadou & Mariam
Like every year, the Edmonton Folk Music Festival featured a food court that also seemed to have a world influence, including Asian, East Indian, Native American, and western choices, as well as a lot of vegetarian/vegan items. There was also a craft/artisan market and merchandise tent where fans could get t-shirts and CDs.
Opycham's latest release, new.age.om, was recorded in Tuva, which is spearheaded by drummer and percussionist, Rasputin (of Yat-Kha-fame). The meditative and monastic eight-track release celebrates various religions including Russian faiths, Buddhism, and Shamanism. The album contains a backdrop of various rain sounds, fire, birds, insects, and water-flows for a very earthy element. The pensive instrumentation is rather light and alternative and comprises the cello, djumbush (like a Turkish tanbur), guitar, and hand-percussion. The music is vocal, but very entrancing overall. The subtle inflections of earthy elements and hypnotic vocals make Opycham's latest release well-worth a listen. Fans of shamanic, alternative, new age, Russian folk, and European music will love it. It's a great way to unwind! ~ Matthew Forss
This collection of Tuvan throat-singing music spans twenty tracks and numerous, well-known artists from the region. You will hear the Tuvan Ensemble, Eduard Damdyn, Vadim Oorzhak, Ayas Kuular, Evgeny Saryglar, and Mai-ool Sedip. There are sung melodies, as well a throat singing accompaniment throughout. There are plenty of traditional instruments backing the vocals, including the igil, chanzy, kengirge, dungur, byzaanchi, and doshpuluur. These instruments are various percussion and string accompaniments that accentuate the gritty and soaring vocals. Kyzyl-Moscow is actually a festival held every year in Moscow since 2004. It was organized by George Arat Beletsky--a talented producer, musician, and music promoter. Anyone interested in the effervescent melodies of Tuvan instrumental music and throat-singing styles should check out Kyzyl-Moscow III. Very listenable. ~ Matthew Forss
The multiphonic, yogic, and kirtan-influenced vocal traditions of Tuva, Nepal, Tibet, and India are showcased with a variety of singers from different backgrounds on Sadhana. The new album, which means 'practice,' is a deeply-meditative romp into the yogic center of the universe clearly inspired by vocal traditions and nothing else. However, a few instruments pop up from time to time. Notably, drums, konnakol, ghatam, kanjira, and other percussion. Some of the singers include Amy Fradon, Kirsti Gholson, Baird Hersey, Julie Last, Julian Lines, Julie Parisi, Joe Veillette, Peter Buettner, and Bruce Milner. The trance-inducing vocal melodies are fairly angelic and spiritual with extended vocal-lines and various pitches that flow seamlessly throughout. As a bonus, Krishna Das is featured on the final track, "My Foolish Heart." Fans of world chants, tantric music, Central Asian music, kirtan, yoga, meditation, and spiritual music will find Sadhana divine beyond belief. ~ Matthew Forss
The Tuvan rock and throat-singing of Russia's Yat-Kha has been an iconic presence in the world of Tuvan music for the past two decades. Led by vocalist and guitarist Albert Kuvezin, Yat-Kha takes the world by storm with traditional instrumentation and electro-ethnic elements that are darkly inviting. The name of the group is coined after a Central Asian instrument. The vocal style of Kuvezin has been noted as kargyraa, which is basically a deeper, more growling version of the traditional form of Tuvan throat-singing. Importantly, not all of the songs center on throat-singing. The Ways of Nomad features hits from 1995-2003. Anyone with an interest in Tuvan folk, throat-singing, Mongolian, Central Asian, or Russian folk and rock music should own everything by Yat-Kha. Liner notes in English, Russian, and Tuvan. ~ Matthew Forss
Uch Sume R is a group of musicians that bridge the gap between historical and modern folk music from Khakassia in south-central Siberia. The second half of the album features the music of Khakassian singer, Alisa Kyzlasova. Uch Sumer is the second highest mountain in Russia, which borders three countries: China, Mongolia, and Kazakhstan. It also means 'three wisdoms' or 'three peaks'. The albums title, Ymai, is an ancient Turkic Goddess of motherhood, love and fertility. The lively songs are mostly traditional folk and throat-singing tunes that incorporate a range of local and regional musical instruments that provide an authentic and organic sound. Anyone looking for songs of the Altai mountain range, or Central Asia, will find Uch Sume R to be an outstanding addition to any collection of folk music. Liner notes in English and Russian. ~ Matthew Forss
Shuga is a Karelian word for "a thin piece of ice at the water's edge". Interestingly, the Tuvan word for 'chuga' is "thin". Consequently, the folk music of Karelia and Tuva meet with glorious results. The throat-singing traditions of Tuva and electronic and natural sounds form the basis of Shuga's message. The music is closely reminiscent of Huun Huur Tu. There are only four songs that only add up to forty-minutes in length. However, the music is so entrancing that time seems to stand still upon first listen. The seemingly avant-garde melodies are a perfect mix for throat-singing and modern percussion and nature sounds. Anyone interested in the contemporary music of Tuva, or Russia's great North will find enjoyment in the songs of Olchey. ~ Matthew Forss
The galloping sounds of Tuva's throat-singing and instrumental ensemble, Huun Huur Tu, are revisited as more modernized sound palettes accentuate the group's characteristic style of ancient melodies. Keep in mind, the group's traditional instruments are still here, including the igil, doshpuluur, flute, byzaanchi, igil, and drums. The addition of the guitar eloquently steers the songs into a glorious setting of listenable comfort. For the most part, the songs are reinvented from their earlier Orphan's Lament (Shanachie, 1994), but one selection, 'Konguroi', makes an appearance from Sixty Horses in My Herd (Shanachie, 1993), as well as 'Saryglarlar' from Eternal (Electrofone, 2009). There is a slightly modernized tone to the songs without showy electronic elements or techno/dance noises. Essentially, Ancestor's Call is culled from thousands of years of throat-singing traditions for a new generation. This is a slight departure from Eternal (Electrofone, 2009), which featured the electronic wizardry of Carmen Rizzo. At any rate, Huun Huur Tu 'step'pes it up like no one else! ~ Matthew Forss
The Window is what happens when two groups from different countries come together and make music for one afternoon in Los Angeles, USA. The Persian/Sufi Lian Ensemble incorporate Persian lyrics and traditional instrumentation, including the tar, kamancheh, udu and frame drum. Imagine the sounds of the ancient, Persian courts mixed with the throat-singing elements of Tuva's Chirgilchin. Chirgilchin consists of four members playing traditional fiddles and lutes, including the igil, doshpoulour, and byzaanchy. Their notable throat-singing is an excellent accompaniment with the Persian and Tuvan instruments. The eerie vocals, droning sounds, and mystical percussion are rarely heard in other recordings. One drawback with The Window is the length. There are only four songs at about 40 minutes. However, the songs were recorded in only one afternoon and the group's busy schedule only allowed a limited playing time. Still, the results are quite remarkable. English and Persian liner notes are included. The Window is perfect for Persian, Tuvan, Mongolian, Central Asian, and Sufi music fans. ~ Matthew Forss
The Tuvan National Orchestra was formed in 2003. It comprises members of other throat-singing ensembles, including Chirgilchin, Alash, and Tyva Kyzy. The orchestra is now led by director and conductor Ayana Mongush who includes nine compositions released in a limited CD pressing. The contents of songs range from mythical legends to the environment, instruments, and personal longing. Additionally, the Tuvan national anthem is included in the opening track, 'Tooruktug Dolgai Tangdym'. On the whole, orchestral music tends to reflect classical leanings, but the Tuvan National Orchestra melds history with the present to produce very enlightening and contemplative works that are anything but boring. This is a perfect album for anyone interested in throat-singing or traditional music of Central Asia. ~ Matthew Forss
Huun Huur Tu are throat-singing masters from the Republic of Tuva located in southern Russia. There name can be translated from Tuvan to mean "sunbeams". They have been wowing crowds with their vocal mastery since the early 1990's. The addition of electronic musician, Carmen Rizzo, adds a modern flair to the historical instrumentation of igil (two-stringed instrument), guitar, doshpuluur (lute), flute, byzaanchi (spike fiddle) and drums performed on Eternal. Additional instrumentation is provided on violin, cello, trumpet, cumbus, and bass. "Ancestors Call" is the opening track that begins with an ambulatory drum-beat indicative of galloping horses roaming the taiga. Vocals, although present, are interspersed throughout the album. "Mother Taiga" is an inviting track with all the elements of a great Huun Huur Tu track. Carmen's electronic sounds and ambient backdrops propel the songs into an otherworldly place. Yet, the unfamiliarity is broken by the slightly guttural; but hauntingly beautiful and unmistakable vocals of Huun Huur Tu. Vocals are provided by Kaigal-ool Khovalyg, Sayan Bapa, Radik Tyulyush, and Alexey Saryglar. Eternal is an album that will last for the ages. It's a perfect beginning for those seeking contemporary throat-singing. ~ Matthew Forss
Welcome to Inside World Music! This is your one-stop spot for reviews, interviews, and resources about World Music! Inside World Music is where the sounds of the World harmonize.
.jpg)
