Bagad (2)

Bagad Kemperle

Pierrick Tanguy - Michel Godard
Kejadenn
1993

Tracks:

1. Doue lann (4'12)2. Mat'lot barreaux (5'35)3. Chat huant (3'15)4. Cayenne (4'50)5. "Doucement les basses" (improvisation: Godard, Hamoniaux) (1'44)6. Rigolo, rigole pas (4'47)7. D'accord, pas d'accord? - dedicated to Matilin an Dall (Godard) (3'23)8. Koad Kimerc'h (trad., arr. Le Vallegant, Tanguy) (4'02)9. L'homme rouge (4'37)10. Bomb-hard (5'40)11. Casino (3'08)12. Vord an elle (trad., arr. Tanguy) (2'48)13. Galicienne (4'07)14. Kejadenn (5'29)

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"(...) This should be a big seller among the pipe and drum aficionados, because it is just that. The group is made up of bagpipes (biniou), chanters (cornemuse is the word on the literature, but the notes are in French and cornemuse means bagpipe or chanter in that language, not the Renaissance soprano krummhorn), various sizes of shawm (bombarde), and of course lots of drums. Michel Godard is apparently a guest artist on this recording, as are Godard regulars (rencontre) Linda Bsiri (vocals), Jean-Louis Matinier (accordion), Philippe Deschepper (electric guitar), Jacques Mahieux (drum set) and Michael Riessler (saxophones & clarinets). I have divided the fourteen tracks on this CD into several categories: Scottish pipe band, pipe band emulating Egyptian double reed instruments, modern woodwinds, chanters only, Serpent plus pipes, Serpent/Tuba alone, and Michel & Linda (shades of "Le Chant").

The group plays four tracks which sound pretty much like traditional Scottish Pipe Band material; "Doue Lann", "Rigolo", "Casino" and "Galicienne". The variations here are shifts to the mid-eastern sound on "Doue Lann", the addition of tuba, accordion and Linda on "Casino", and the efforts of Riessler and his sax on "Galicienne". "Chat Huant" appears to be entirely of mid-eastern influence. On the track called "Cayenne", Riessler's klezmer clarinet is backed by Godard's tuba ground and drumset. The chanters get to shine on the 'dueling banjos'-like "Koad Kimerc'h", where the theme is constantly enhanced between alternating groups of players. The Serpent and bass clarinet are teamed with the bagpipes plus a vocalise on "Mat'lot Barreaux".

In a more avante garde style, "Doucement Les Basses" has Godard using Serpent and tuba effects, flutter tonguing and singing through the horn while the bass drum (presumably from the pipe band, not by Jacques Mahieux) thumps away in a totally unpredictable manner. The most unusual tracks are those pairing Godard and Linda Bsiri, and that magic they did well on "Le Chant" and "Aborigene" still works here. On "D'Accord, Pas D'Accord" Linda does her brand of sultry jazz-scat-vocalise with the Serpent doubling, and the chanters drone almost imperceptibly in the background. "L'Homme Rouge" has Linda mumbling and chirping, tuba rumbling almost subsonically, Serpent riffs, electric guitar 'bowing the strings' ethereal effects, and bass clarinet for good measure - neat piece. Michel and Linda again on "Bomb-Hard", where the chanters play a bagpipe-like drone chord, are suddenly replaced by virtuoso vocalise and/or Serpent vocalise, then chanters repeat with a different chord, followed by another bit of improvisation, and so on. "Vord An Elle" is just Linda and the Serpent. The recording ends with the title track "Kejadenn"; the accordion and tuba start with a slow duet, then the tempo picks up and drums are added, then faster and the pipe band joins in for the grand finale.

This CD is a truly unusual and stimulating effort. We all have a love-hate relationship with the bagpipe sound, and listening to these tracks can be a rather emotional experience, not to mention LOUD."

(Serpent Newsletter, 1994)

text found by LUCKY :)