On peut dire: Ils sont les meilleurs...

 

Cabestan
Femmes de Marins

1997

Tracks:

01. Femmes de Marins - 3'00
02. An Titanic - 2'26
03. Le vieux de la vieille - 2'49
04. Ceux qu'on nommé les bancs - 2'40
05. War bont an Naoned - 4'14
06. L'adieu aux filles - 3'43
07. Etre Keraroz ha Kerguz (suite de Laridés) - 3'02
08. Le garçon marinier - 2'29
09. Ex-gréement - 3'23
10. La chasse au loup marin - 4'07
11. Belle étoile du Nord - 1'51
12. Nova Scotia farewell - 3'02
13. Le Reste-à-Terre - 3'55

 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ. 

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

   
Un disque marquant paru en 1997, alors que Cabestan était un des acteurs du renouveau du chant de marins. C'est devenu un classique du genre.

Dans ce CD d'inspiration très bretonne qui mélange le traditionnel et les compositions ou adaptations, on trouve l'empreinte du Québec avec la participation de Bernard Simard dont la voix et le jeu de guitare transforment une chanson comme l'adieu aux filles en véritable bijou, et un grand classique comme le vieux de la vieille

Les autres musiciens qui ont participé à cet enregistrment sont Christian Desnos (voix, accordéon diatonique), Jean-Luc Creac'h (voix, guitare, basse), Arnaud Maisonneuve (voix, guitare), Thierry Moreau (voix, veuze, violon, violoncelle). Autres chansons de ce disque qui ont eu du succès et son souvent reprises, le reste à terre déjà chroniquée dans ce blog il y a quelques temps, et femmes de marins.

source

a link

***

Femmes de marins

Refrain:
On les app'lait femmes de chagrins
Du temps de leurs grand-mères
Aujourd'hui gronde la colère
Des femmes de marins

Il y'eut le temps des femmes soumises
Élevant leur famille, lonla,
Élevant leur famille (bis)
Qui attendaient, tristes, indécises
Le retour du navire, lonla,
Le retour du navire (bis)
Refrain

Puis vinrent les conserveries
Le travail à la chaîne, lonla,
Le travail à la chaîne (bis)
Il fallait pour gagner sa vie
Ne pas pleurer sa peine, lonla,
Ne pas pleurer sa peine (bis)
Refrain

Quand arrivèrent les machines
Et les temps de chômage, lonla,
Et les temps de chômage (bis)
Elles firent grève dans les usines
déjà femmes de courage, lonla,
Déjà femmes de courage (bis)
Refrain

Maint'nant quand les hommes sont en mer
Elles s'occupent des affaires, lonla,
Elles s'occupent des affaires (bis)
Pour affronter les C.R.S.
elles n'sont pas les dernières, lonla,
elles n'sont pas les dernières (bis)
 

***

Folk Roots #47 - May 1987:

           
Right from their first record this group has been outstanding in their presentation of French and Breton shanties and sea songs. The group, formed from a co-operative known as Chasse-Maree, consisted at the time of Arnaud Maissonneuve, Benoit Chantran, Bernard Subert, Christian Desnos and the group's leader and driving force, Michel Colleu, who has collected the majority of the material used - songs and tunes from the rich maritime heritage extant around the coast of Britanny. Fiddle, flute, concertina and guitar along with a melodeon (in this case, Christian uses an almost straight tuning to great effect) are often used as accompaniment, and all are excellent musicians as well as fine singers. Bombardes and hurdy-gurdies are unlikely instruments to hear backing sea songs, but in the hands of the French they blend perfectly with their style of singing - and what a style! Whatever Cabestan do, the maxim seems to be that effort and a feeling for the material are essential. Their precision and spirited renderings make them a joyful listening experience, even if you can’t understand French, because you can feel the 'working power' of the songs...

 

... I can do no more than say that Cabestan are by far the best sea songsters I have ever heard...

 

 un cabestan : )

MARITIME MUSIC OF BRITTANY 

The coast line of Brittany is equivalent to one fourth of that of all France, and Bretons have played a dominant role in European maritime history. At the end of the 15th century Brittany had a fleet of 1,800 to 2,000 ships and approximately 20,000 sailors (of a population of some one million). Fishing, shipping and service in the navy remain important occupations in Brittany. While the modernization of maritime industries has effectively eliminated the continuation of a work song tradition among sailors and fishermen, the transmission of song about the life related to the seas continue to be a part of Brittany's oral tradition on land. These relate maritime history--storms at sea, ship wrecks, naval battles, piracy--and speak of the hard life of fishermen and sailors and their long separation from family and loved ones.

An organization which has been active in researching and documenting maritime traditions of Brittany is Le Chasse-Maree. From collection with sailors and fishermen now in their 80s and 90s, young performers have been able to recreate maritime work songs for raising sails and anchors, turning capstans, rowing from ship to shore, or hauling boats into harbors. Also documented is the use of musical instruments on board ships--including fiddles, hurdy-gurdies, accordions and more rarely bagpipes--and the presence of Breton dances such as the laride and rond.

and another link

♥

Dansez...

  

Tribal Jâze

Trash, Trad & Roots
2008

Tracks:

01. Ouverture En Si Bémol Mineur
02. An Dro De Travers
03. La Tordue
04. Bourrée À Deux Ronds
05. Oudent Waltz
06. Bambi Roots
07. Cottage
08. Nin Nin Nin
09. Bourrée Du Tiot
10. The Miller Of Drohan
11. Dimanche Matin
12. De L'aut' Jour

Cédric "le Tiot" Hergault : Tambour & Percussions
Boris "le Secos" Nortier : Accordéon diatonique
Marc "le Gros" Buvry : Sax baryton

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

  

Musiques de bal folk à danser mais avec une pointe d'humour et de swing.
Vous ne resterez pas sur votre chaise en écoutant la musique de ces 3 compères !
Le message est clair: amusez-vous et dansez jusqu'au bout de la nuit.

Vive La France!

   

Attribut ou à la tribu ?

Ils font comme les bretons, ils ressemblent aux bretons, ils sont des bretons.

Trois belles bêtes (le secos au diato, le ‘tiot au tambour  et le gros d’la troupe au baryton) amoureux de la terre, des côtes d’agneau grillées à la menthe, du bon vin et de la musique. Bref, ces trois lascars pourraient être de parfaits limousins.
Le jâze ? Un clin d’œil à la grosse caisse tambourinante des trios populaires en Bretagne au début du XXème : l’époque glorieuse du diato arrivé fraîchement sur les côtes …atlantiques.

En place pour un parcours de danses traditionnelles...

Bonjour à tous,
Nous somme le groupe TRIBAL JÂZE

"Créé en 2005 par Boris Nortier, Marc Buvry et Cédric Hergault, Tribal Jâze est un trio d’accordéon diatonique, sax baryton et tambour-jâze officiant dans le créneau des nouvelles musiques traditionnelles.

En 2007, Tribal Jâze s’attache à la production d’un premier album autoproduit « Le Grand Saut ». Avec leur deuxième album « Trash, Trad & Roots » produit en 2008, et « III », produit en 2011, ils sortent des sentiers battus des musiques traditionnelles et élargissent leur univers en s’accompagnant d’un V-Jay lors de leurs concerts.

Ils participent à de nombreux festivals en France mais également à l’étranger (Belgique, Portugal, Italie, Angleterre)."

Venez nous découvrir sur notre site ou en live pour danser !

site

or try here

need more music?

also look for Timothée Le Bour & Youen Bodros : )

♥

Bagad & Bass

  

Bagad Men Ha Tan

Henri Texier
Doue Lann
1998
 
Tracks:
  
1. Les deux frères
2. Le cimetière des bateaux
3. Cayenne
4. Gwall amzer
5. Vents d'Est
6. Santa Maria
7. Café du port
8. Pub
9. Doue Lann
10. Félicité
11. Cap'tain
12. Port blanc

57'15

Personnel:

Henri TEXIER : contrebasse.

Pierrick TANGUY : compositions et direction du bagad
Ronan LE GOURIEREC, Christian MEHAT, Dominique CHAPRON, Magali DAVY, Nathalie DRANT, Gwenaël GOULENE, Guénolé KERAVEC : bombardes
Ronan GEFFRAY, Gaël JANNEE, Erwan KERAVEC, Patrice LE CORRE, Patrig LE ROUX, Tanneguy TESTARD : cornemuses
Ronan MELEARD : biniou koz
Stanislas AMBLARD, Tangui BODIN, Jean-Charles DAVY, Hervé LE ROUX, Tanguy LE ROUX, Pierre LE TOUX, Steven MARTIN, Jean-Noël PATRU, Ronan VILAIN : batterie
Tangui BODIN : accordéon

 

enregistrés à Saint Nazaire fin 1997.
   

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫
   

"Pierrick Tanguy, ancien responsable du Bagad Kemperle, a réuni une nouvelle formation, constituée de musiciens issus de plusieurs bagadoù, pour pousser plus loin la démarche entreprise à Quimperlé. La musique de Pierrick Tanguy fait rimer sobriété et efficacité et le résultat est superbe tout simplement, très fort, à tel point que certains morceaux vous donnent la chair de poule. Al'image des photographies de Michel Thersiquel qui illustrent le livret vendu avec le CD. Un bel objet." LE PEUPLE BRETON

"La production bretonne est fascinante. Henri Texier respecte l'orchestre de Pierrick Tanguy, avec les contrastes, entre la stridence des bombardes, des cornemuses et du biniou, face aux grondements des batteries, mais il innove aussi." LIBERATION

link

♥

Breizh and no end...

   

L' Empreinte de la Bretagne

Impressions of Brittany
2000

Tracks:

01. Ronan Le Bars - Heol Ebrel
02. Erik Marchand - An Tri Beur
03. Tan, Bagad Men Ha - Doue Lann
04. Nicholas Quemener-Ronan Le Bars - Jackie's Tune
05. Quintette De Clarinettes - Lann Benn Davad
06. Fresu-Marchand-Pellen - Steredenn
07. Kemener-Sqiban - AR Bambocher
08. Didier Squiban - Variation 3
09. Jacques Pellen - Feunteun Wenn
10. Bagad Kemperle - Galicienne
11. Mélaine Favennec - Au Bout du Vent
12. Manu Lann Huel - Enez, Molenes

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

 

...and one more:

and don't miss that one :)

here

In the spring of 98, the Bagad Men Ha Tan released their CD « Doue Lann » with the double-bassist Henri Texier. The music written by Pierrick Tanguy paid homage to the little Finistère port of Doëlan and its fishermen.

The music of « Doue Lann » was the framework for the encounter between the Bagad and the Senegalese percussionists of drum-master Doudou N’Diaye Rose. That show traveled throughout France in May and June 1998 and was an immense success. The encounter couldn’t stop there. Doudou N’Diaye Rose indeed wished to record this astonishing cross-cultural mix before the 2000 tour. And we accomplished this in Dakar last April. Doudou N’Diaye Rose - Senegalese percussionists

Bagad MEN HA TAN
Composed of musicians who are also part of the best bagadou of Brittany (Locoal-Mendon, Quimper, Quimperlé, Saint-Nazaire), under the direction of Pierrick Tanguy, Men Ha Tan has taken up the vocation of disseminating original and lively music, of promoting encounters between different musical universes. This vocation corresponds to the current direction of Breton music in full evolution, which meanwhile holds fast to its roots.

Doudou N’DIAYE ROSE
Author of the national anthem of Senegal, and of most of the radio and television show theme music in his country, the Master Drummer of Dakar, Doudou N’Diaye Rose is a reference in African percussion. Living legend, solicited by the biggest musicians (Peter Gabriel, Dizzie Gillespie, Nina Hagen...), he is accompanied by a dozen drummers.

Pierrick TANGUY
Musical director and composer for the Bagad Kemperle for many years, Pierrick Tanguy has multiplied his musical experiences (Henri Texier, Louis Sclavis, Eric Marchand, Dan Ar Braz, Jacques Pellen, Kristen Noguès, Michel Godard, Aldo Romano, John Abercrombie, Steve Swallow, Joe Lovano, Paul Motian, Bill Frisel, Dewey Redman, Kenny Wheeler, Claude Barthélémy, Sylvain Kassap...). His compositions are played by many groups and bagadou.

♥

Bagpipe & Bombarde

  

Pierre Crépillon, Laurent Bigot
Dreuz Kreiz Breiz
1995
  
À travers la Bretagne interieure

Tracks:

01 Gavotenn giz ar Faoued
02 Ton Bale Konskried Loudia
03 'N droiad dans giz Loudia
04 Bale eured Keraez
05 Kantik Santez Anna
06 'N droiad gavotennou
07 Toniou dans giz ar Menez
08 Ton Bale Julian Kadoudal

Personnel:

Pierre Crépillon: Bombarde
Laurent Bigot: Biniou-Koz

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

 

MUSICAL INSTRUMENTS OF BRITTANY

  

Biniou & Bombarde

The biniou koz ("old bagpipe" in Breton) or biniou bihan ("little bagpipe") is traditionally played in pair with the bombarde (see below). The two players are referred to as sonerion (in Breton) or sonneurs de couple (in French). The biniou (as it is referred to these days) is a mouth-blown bagpipe with one drone. It is high-pitched (an octave above the Scottish Highland bagpipes), with a range of ten notes. Its tuning has varied from one area of Brittany to the next (it can be found in the keys of G#, A, B, or C), and Bretons continue to research the history and diverse use of this instrument. The bombarde has a range of two octaves with its lower range pitched an octave below the biniou. The biniou provides a continuous sound due to the steady supply of air from the bag to both the drone and chanter. The chanter is only 5-1/2 inches long with 7 finger holes; the single drone is approximately 14 inches long.

While the biniou and bombarde pair is found today throughout Brittany and performed by some 400 pairs, it has been traditionally found in the southwestern and south central part of Brittany where its practice remains strong. The style of paired playing found today has been well documented as far back as the turn of the 19th century, although there are references and visual depictions indicating that these two instruments might have been played in pair at least as far back as the 16th century in Brittany. In earlier times a drum was also commonly found to form a trio, although today this is rarely found. In past centuries sonneurs were often professional musicians (at least part-time) who were hired for weddings, fairs and other public events. Except for very rare exceptions, biniou and bombarde pairs have been men.

The bombarde is a member of the oboe or shawm family. Describing it as an oboe, however, can be misleading since it has a very powerful sound, more closely resembling a trumpet. The bombarde is played as oboes are played with the double reed placed between one's lips; the second octave (unison with the range of the biniou) is achieved with lip pressure. In contrast to the continuous sound of the bagpipe, the bombarde is capable of stacatto which makes it particularly effective in pair with the biniou. This is an instrument that has been in constant evolution with many different keys developed as well as milder versions (lombarde, piston) developed for use in ensembles.

Today, both the biniou and bombarde are played in combination with an unlimited number of instruments (saxophone, fiddle, flutes, electric guitar, percussion from all over the world … ) or with voice in fest-noz bands, rock groups and ensembles of all styles - in arrangements of traditional Breton dance tunes and airs or new compositions.

 

source

source

♥♥

 

Bombarde & Organ

  

Jean-Claude Jégat & Louis Yhuel
Bombarde Et Orgue
Musique Sacrée

Marches Mélodies, Danses De Bretagne
1998 (1972)

Tracks:

Musique Sacree

1. Ni Ho Salud Ged Karante (Angelus)
2. Jezus Zo Diskennet Jesuz, Men Doue
3. Pe Trouz Ar En Douar
4. O Rouanez Karet En Arvor
5. Ni Ho Salud, O Lan A Hres
6. Me Gav Hir En Amzer
7. Kanomp Ihuel
8. Petra Zo Henoah A Neue
9. Kalon Sakret Jezus
10. O Sant Matelin Benniget
11. Jezus, Peker Bras E

12. Bro Goz Va Zadou (Hymne National Breton)

Marches, Melodies, Danses De Bretagne

13. Hanter-Dro (Mod Neue) (Danse)
14. Polka Piquée (Danse)
15. Pardon Keluen (Mélodie)
16. Marches Vannetaises Marche De Fumeurs,La Rupture,Entrée De Mariage
17. Laride Gavotte De Pontivy (Danse)
18. Me Zo Ganet E Kreiz Er Mor (Mélodie)
19. Bonsoir Mathurine Bugul Pondi (Marche)
20. Kas Abarth (Danse)
21. Hanter-Zans (Danse)
22. Danse-Jeu
23. Kenavo Deoh (Mélodie) 

Personnel:

Jean-Claude Jégat (bombarde)

Louis Yhuel (orgue)

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

  

BOMBARDE & ORGAN

The pairing of the bombarde with big church organs dates back only to the 1970s but has become a tradition of its own. Often the repertoire includes a number of Breton cantiques or hymns, but this pairing is also used for dances and new compositions, and more recently the biniou has been added to make a trio, and you also find bombarde paired with piano.

Jean-Claude Jégat & Louis Yhuel.
Bombarde et orgue
Pioneers in this genre with many recordings in the 1970s and early 1980s on lp.

 

***

  

On reconnait ici une référence tant au niveau des artistes, (Jean-Claude Jégat et Louis Yhuel), que de leur virtuosité.
A sa sortie, ce coup d'essai fut un coup de maître, et l'association des deux instruments, l'un sacré, l'autre profane, est une réussite.
Cantiques bretons et gavottes se succèdent et s'harmonisent simplement, naturellement.

 

 ***

  

Un Véritable Chef d'Oeuvre !
Par Terrien

Ce CD est un véritable bijou de ce que peut représenter l'Art de la musique à l'état pur.
Lorsque j'ai écouté cette musique,j'ai retrouvé cette délicieuse sensation lorsque j'écoutais des heures durant
Monsieur Yhuel Organiste Titulaire des Orgues de la Collégiale de Guérande,jouer avec brio tant la musique bretonne que les grandes musique classiques...l'Alchimie avec Monsieur Jégat est une pure merveille!
J'ai souvent pensé que si la vie avait privé Monsieur Yhuel de la vue ,elle lui avait donné en contre partie ce Don unique de jouer de façon aussi parfaite toutes les gammes possibles de la Musique!avec cette modestie et cette gentillesse qui lui ressemblaient tant...
Il y a des Personnes dont on se souvient toujours car lorsqu'elles partent,elles vous laissent cette impression de vide douloureux mais Monsieur Hhuel,grâce à la Musique qu'il nous laisse,appartient au Royaume des Immortels... 

link : )

   

*´♥`*

 

Accordion & Violin

   

Yann-Fañch Perroches

& 

Fañch Landreau

 
Daou-ha-daou
2000

Tracks:

1- Le mauvais père (trad) /
La Jolie Rochelle (comp. Perroches - Landreau / trad)
2- Suite Gavotte (trad.)
3- Ma petite Philomène / Ridées 6 temps (trad)
4- La marche des cabanes à sieste (comp. F Landreau)
Gavottes pourlettes (comp. Perroches/Landreau - trad) 

5- Marches de Le Gal et le Nouveau (trad)
6- Ninette (Ronds de St Vincent) (trad)
7- Maria (comp. YF Perroches)

8- Les rats d'eau de St Malo (trad)        
9- La (grosse) Valse à Dudule (comp. YF Perroches)

10- Un ti bihan (trad)
11- Suite Plinn :
Ton-simpl : (A Thomas/D Philippe)
Bal plinn : (Perroches/Landreau)
Ton-doubl : (trad - D Le Féon)
12- Son ar Mezvier (trad) / Kas-a-barh (trad - Landreau)
13- Voici fleurir les roses (trad)

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫
  

The artist says: "For me the diatonic accordion and Breton music are universal. Swing, melancholy and harmony... My music is deeply rooted, but it is nourished from all sources, from every encounter."

"An exceptional, very spare album, an album that will remain timeless because the only 'special effects' are the musicians themselves!" Le Télégramme

"You'll be entranced. For Breton music listeners, this is a joy, but for players in search of tunes, it's essential!" Dirty Linen

   

"An accordion. A violin. A microphone. 

No tricks. We play, that's all." 

    
Such is the declaration made by Perroches and Landreau on the cover of their new CD. Daou-ha-daou provides a lesson in the texture that can be created by two musicians without the benefit of overdubbing or an arm's length of guest players. Veterans of the leading Breton band Skolvan, these two share a rare understanding and sympathy, and succeed in weaving many a pretty web around the template of traditional and original melodies from their region. First a tune is established, by one instrument or sometimes both (the unison playing is telepathically tight), then the accordion basses begin to syncopate and extend the chordal background into jazzy territory. The fiddle soars and dips around the basic melody, delighting with its delicate improvisations. The comparison with England's Chris Wood and Andy Cutting is an obvious one, but there are other points of reference such as the Arctic soundscapes of Finland's queen of squeeze Maria Kalaniemi, whose influence is heard in the dissonant chords filtering into the "Suite Gavotte," as well as in Yann-Fanch's tribute "Maria," an air with a powerful sense of open space.

Generally the mood of this entirely instrumental CD is one of reflection and melancholy, with minor keys and broken rhythms predominant, although "Les Rats d'Eau de St. Malo" works up quite a head of steam with some Quebec-style foot percussion. The beautifully crafted music deserves repeated listening by anyone who appreciates fine playing, but it can also serve well as an atmospheric backdrop. With Daou-ha-daou, Perroches and Landreau offer another great example of the current strength of European traditional music.

~Brian Peters
  

Perroches

*♫*♫*

Piano

  

Didier Squiban

Rozbras

12 Images Pour Piano

2001

Tracks:

1. Image 1     5:53   

2. Image 2     2:51   

3. Image 3     3:42   

4. Image 4     2:15   

5. Image 5     5:18   

6. Image 6     6:29   

7. Image 7     2:36   

8. Image 8     4:32   

9. Image 9     3:25   

10. Image 10     6:01   

11. Image 11     3:28   

12. Image 12     5:08   

Credits:

Didier Squiban : piano, compositions et arrangements

 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

  

as requested by you :)

  

***

"Dernier volet d'une magnifique trilogie, Rozbras emprunte son titre à un abri maritime entre Riec-sur-Belon et Pont-Aven. Ce barde virtuose livre une suite de douze petites pièces entre jazz et classique contemporain. Un album incontournable, zen comme le vol d'une mouette. 20 sur 20." P.D. / L'EXPRESS

   

 photo source

♥

Piano

  

Didier Squiban
Porz Gwenn

(18 variations pour piano)
1999

Tracks:

1. Tal ar mor (Bord de mer)
2. Kastellig (Petit château)
3. Forzh penaoz
4. Diskan
5. Petit air marin
6. Cantique Breton
7. Marche
8. Airs de gavotte
9. Nominoë
10. Choral
11. An dro de pont Kalleg
12. Ar paotr yaouank kozh
13. Sur la route de Saint-Claude
14. Ridée de Loperhet
15. Rond de Molène
16. Ronds d'Iroise
17. Ar c'hoadig
18. Porz Gwenn (Port blanc)

Didier Squiban: piano, compositions et arrangements

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

 

"Aucune réserve pour le voyage que nous offre Didier Squiban, de bout en bout enthousiasmant. Il explique son travail dans le très beau livret (les photographies sont signées Michel Thersiquel) qui accompagne l'album. On le lit, on l'écoute, on songe à Bach, à Keith Jarrett. On prend la mer dans le sillage d'un piano marin." A.M. PAQUOTTE / ffff TELERAMA

"Ces variations pour piano sont d'une beauté pénétrante comme le tranchant d'un cristal de roche. Oublions les références aux pianistes romantiques et imaginons plutôt un Keith Jarrett apaisé, bercé par les vagues de la mer la plus vivante du monde : c'est la Bretagne unique, celle d'un tempérament sans concession." J. DELLI FIORI / ****JAZZMAN

"Composées ou improvisées, ces pièces déclinent un thème qui sera présenté en toute fin de disque, à la beauté sans fioritures. Si l'influence traditionnelle est plus ou moins appuyée, la mélancolie est toujours présente tout au long de ce voyage en Bretagne dont on aurait tort de ne pas vouloir être." D. SANSON / CLASSICA

  

 Didier Squiban's piano compositions are harmoniously old-fashioned, melodically pleasing, rythmically stimulating. Recorded in a chapel, the sound quality is outstandingly clear and bright in all tonal ranges. Mr. Squiban is an accomplished technician who plays his own compositions with the insight and feeling to produce a thoroughly satisfying artistic entertainment. In this day of raucous pop-music, a sound which seems a bit out of date puts to shame the current simple minded caterwauling passing itself off as music. Didier Squiban deserves to be popular.

By Dan Heines (Milan, Italy)

  

♫

Voice & Piano

     

Yann-Fañch Kemener

Didier Squiban

Île - Exil
1996

Tracks:

   1. Marie Louison
   2. Le chant des métamorphoses
   3. Gousperoù ar raned / Ar rannoù
   4. Hanter dro: Duhont 'ar ar Mane
   5. Evnig bihan
   6. Soubenn al laezh
   7. Ar seizh avel
   8. An oed a driwerc'h vle
   9. Drouk-kinnig neumenoioù
  10. Résurgence - Du côté de l'enfance
  11. Gavotenn: Ar martolod yaouank (Appel; Gavotte)
  12. Je te chante mon pays
  13. Plach'ig eusa
  14. Skolvan
  15. Aberioù
  16. Gwerz ker is
  17. Kontadenn (récit des pêcheurs)

Personnel:

Yann-Fañch Kemener: chant
Didier Squiban: piano, arrangements
Yann Paranthoen: images sonores

 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

 

"C'est l'heure de la maturité pour le duo formé par le chanteur breton à la douce voix haute, Yann-Fañch Kemener, et le pianiste forgé au classique et au jazz, Didier Squiban." E. AZOULAY / ffff TELERAMA

"Le piano de Didier Squiban ouvre de nouveaux horizons sonores en mettant la voix de Yann-Fanch Kemener en valeur." J.Y. HINAULT / OUEST-FRANCE

"Un superbe hommage à la Bretagne. Et à son peuple." P. MORVAN / LE PEUPLE BRETON

"Ile-Exil is more than just a compact disc of music. Both Yann-Fanch Kemener and Didier Squiban are at their very best." L. KUTER / BRO NEVE

Ile-Exil (1996) est une invitation au voyage. A la musique et au chant, se mêlent un univers sonore que l'on doit à Yann Paranthoën. Les deux compères véhiculent, au cours de ce voyage, une émotion grandissante. Ce disque comporte également quelques gwerzioù dansées. Le champ rythmé est modifié pour s'adapter aux règles de danse.

 

© Michel Thersiquel

 

♥

Piano (16)

 

Didier Squiban
Molène
1997

Tracks:

1. Suite Nr. 1 "Tri Men": 1. ArBaradoz 4:25
2. Suite Nr. 1 "Tri Men": 2. AnAlac'h 1:13
3. Suite Nr. 1 "Tri Men": 3. Suite d'An Dro du Pays Vannetais 3:59
4. Suite Nr. 1 "Tri Men": 4. Ledenez 3:26
5. Suite Nr. 1 "Tri Men": 5. Kost Ar C'hoat 5:05
6. Suite Nr. 1 "Tri Men": 6. Tri Men 4:33
7. Suite Nr. 2 "Ker Eon": 1. Iroise 3:17
8. Suite Nr. 2 "Ker Eon": 2. Suite de Gavottes des Montagnes 3:02
9. Suite Nr. 2 "Ker Eon": 3. AnSkoliater 2:26
10. Suite Nr. 2 "Ker Eon": 4. Trugerekat Men Dous 3:02
11. Suite Nr. 2 "Ker Eon": 5. Ker Eon 3:39
12. Suite Nr. 2 "Ker Eon": 6. Kerzhadenn-Pedenn 4:11
13. Suite Nr. 2 "Ker Eon": 7. Variations Sur Laridé à 6 Temps 4:45
14. Suite Nr. 3 "Bannec": 1. Marche des Conscrits du Faouët     4:08
15. Suite Nr. 3 "Bannec": 2. Enez Eusa     5:05
16. Suite Nr. 3 "Bannec": 3. Me Zo Ganet E Kreiz Ar Mor 3:49
17. Suite Nr. 3 "Bannec": 4. An Oed a Driverc'h Vle 3:06
18. Suite Nr. 3 "Bannec": 5. Bannec 2:17

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

  

“Une réalisation exceptionnelle et uniquement pianistique sur fond de musique raditionnelle. Un disque ou même les silences font du bruit et ne sont jamais les mêmes.”
(J.-J. Boiron, Musique Bretonne)

Didier Squiban (born 23 September 1959 in Saint-Renan (Finistère)) is a French pianist and composer.

His musical work is a combination of traditional Breton music, jazz improvisation and classical romanticism and has added the piano to the repertoire of modern Breton music.

He has been influenced by Duke Ellington, Keith Jarrett, Charlie Parker and Bill Evans as well as Debussy, Stravinsky, Erik Satie, Darius Milhaud, Schönberg and Glenn Gould. In 1993, he worked as the accompanying pianist for the Breton singer Yann-Fañch Kemener in the acclaimed live show Héritage des Celtes and thereby got closer in touch with the music of his home region Brittany. In 1997, on the island of his ancestors, Molène, he recorded his first Breton solo piano album: "Molène".

 

  

 Outstanding pianist, arranger and composer, Didier Squiban is equally renowned as the director of his jazz orchestra. His musical work is the happy combination of traditional Breton music, jazz improvisation and classical romanticism. He reveals in this alchemy an exceptional talent.

    He begins the piano in 1959 with a classical background at the Brest Conservatoire of Music. As he discovers Bill Evans, Herbie Hancock, he'll turn his music to jazz. A few years after, he'll go into Breton music, a music that surrounded him from 1987 to 1993 through concerts in common with Manu Lannhuel, Kristen Noguès...

    Since 1994, as he takes part to the 'Heritage des Celtes' and performs regularly with Yann-Fañch Kemener, he'll go deeper into Breton music and create his own show: 'Brest 96' with 'An Tour Tan'.

    In 1997 is produced his first solo album, 'Molène' with a huge welcome from the audience (Breton music as well as jazz or classical music lovers). Two years later, comes the second one 'Porz gwenn', in February 2000, his live album, recorded during the 1999 Festival de Lorient concert. And finally, the 'Symphonie Bretagne' where he's joined by the Bretagne Orchestra directed by Didier Benetti, the Contrepoint choir, Josik Allot and his bombard, Bernard le Dréau and René Goaer with their saxes, Alain Trévarin and his accordion and Jean Chevalier with his drums. An album orchestrated by Pierre-Yves Moign.

    The 'Rozbras'album, a new step into Dider's classical-jazzy-celtic musical world. Like 'Molène' and 'Porz gwenn', together with the CD comes a booklet with beautiful pictures by Michel Thersiquel, one of Brittany's most famous photographers.

The 'Ballades' album is a musical voyage along the Globe. From Marrakech or Istambul to Asia (where Didier had an important tour in 2002) and back to Scotland, Ireland and Brittany.

In the latest album, 'Symphonie Iroise', Didier meets once again the Orchestre de Bretagne directed by Alain Altinoglu and also his usual crew : Bernard Le Dréau playing saxophones, Alain Trévarin for accordeon, Jean Chevalier with the drums, Erwan Keravec the piper and Manu Lann Huel the singer.

source

photos de Michel Thersiquel

Didier

get more Didier

*´♥`*

Voices (3)

  

Yann-Fañch Kemener
Didier Squiban
Enez Eusa
1995
 
Tracks:

1. Plac'hig eusa
2. Gwerz Ker Ys
3. Primaozadenn
4. Me 'zo ganet e-kreiz ar mor
5. Marivonig an Dourduff
6. Primaozadenn war Plac'hig eusa
7. Ar Voraerion
8. Gwerz Penmarc'h
9. Primaozadenn war ar voraerion
10. Tri Martolod
11. Plac'hig eusa

Personnel:

Yann-Fañch Kemener: chant
Didier Squiban: piano

 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

 

As one of the best traditional singers today, Yann-Fañch Kemener also is one of the most famous. He established himself as a true musical ethnology specialist towards 'Kan ha diskan' and 'gwerz' traditions and took part in a very effective way to the singing revival in Brittany, its collection and its passing down. His singing is deeply rooted in a family tradition that he developped through many albums in which he recorded some of the songs he grew up with.

    He recorded his first L.P. at the age of 20 and will soon complete the largest discography of singing tradition in Brittany with five other L.P.s between 1977 and 1982 (Chants Profonds de Bretagne 1,2,3,4 and Kan Ha Diskan), all of them are unavailable of course. The oldest available C.D. is a rerecording of his 'Gwerzioù and sonioù', where he sings beautiful Breton laments.

    Beside his solo singing, he will also emerge on an other scene, the traditional folk one, where he adds his voice to the excellent musicians surrounding him in Barzaz. 

 

  This band will soon bring something very new to Breton music with new kinds of arrangements and the early presence of the pragramming playing together with Jean-Michel veillon's transverse wooden flute, Gilles Le Bigot's guitar, Alain Genty's bass guitar or Hopi Hopkins' bodhran , didgeridu...

    He also takes part to Skolvan's first two albums and to a "son et lumière" show together with Kristen Noguès, Jean-Louis Le Vallégant and pianist Didier Squiban.

 

  

 This is the beginning of a strong collaboration as Didier and Yann-Fañch will collaborate to offer a few masterpieces to Breton music.The first one is Brest 96, the official anthem to Brest 96 festival in which they are accompanied by a plethora of excellent musicians, and soon, as a duo, they really create a new style that nobody experienced before, a kind of chamber traditional singing expressed by three albums : Enez-Eusa, Île-Exil and Kimiad.

    He still continues to perform in solo or in duo for kan ha diskan together with Erik Marchand, Annie Ebrel, Valentine Colleter, Patrick Marie, Ifig Troadeg, Marcel Guilloux and recorded an album completely dedicated to this style of singing in which he invited all these friends.

    He actually sings together with Jean-François Corneloup Trio, a jazz band and they just received a great response from the audience during their concert at La Vilette, held on May the 2nd 2000.

    Yann-Fañch also took part to Dan Ar Braz' Heritage of the Celts and Alain Genty's latest album and presented a brand new edition book on the 'Barzaz Breiz' with a C.D. in which he's accompanied by the 'Maîtrise de Bretagne'.

source

home

♥

Bagadoù

 

Bagadoù - L’Anthologie

2005

Tracks:

CD 1

01. Mont a rin da Saludin ma c’habiten – Bagad Kemper
02. Undeiz oan ëfoennat – Bagad Ronsed Mor
03. Bal et gavotte pourlet – Bagad Ronsed Mor
04. Marche – Bagad Sant-Nazer
05. Dérobées et tarentelles – Bagad Sant-Nazer
06. Marion les roses – Bagad ar Meilhoù – Glaz
07. Dans plin – Bagad Ar Meilhoù - Glaz
08. Eliz Iza – Bagad Bleimor
09. Suite montagne – Bagad Bleimor
10. Suite nantaise – Kevrenn Alre
11. A-barh jardin er Minour – Bagad Cap Caval
12. Suite de Kas-a-barh & de Kejaj – Bagad Cap Caval
13. A-barh jardin er Minour - Bagad Cap Caval
14. Suite Laridés six-temps gallo-vannetaises – Bagad Sonerien An Oriant
15. Clam – Bagad Qui-en-Groigne
16. Mélodie vannetaise – Bagad Qui-en-Groigne
17. Bigoud - Bagad Qui-en-Groigne

CD 2

01. Gwezenn ar labourer-douar – Kerlenn Pondi
02. Laride Mod-nevez – Kerlenn Pondi
03. Ton bale ar c’hezeg – Kerlenn Pondi
04. Kost ar c’hoad – Kerlenn Pondi
05. Kas a barh – Bagad Brieg
06. Porc qu’au pot – Bagad Brieg
07. Kanomp Noël – Bagada De Vannes – Er Melinerion
08. Marchalombe – Bagad Bro Kemperle
09. Hypnoz – Bagad Bro Kemperle
10. Suite de Loudéac – Bagad Gwengamp
11. Gavotte pourlet – Bagad Beuzeg Ar C’Hab
12. La marche amène – Kevrenn Brest Sant Mark
13. Gavotenn Ar Menez – Kevrenn Brest Sant Mark
14. Marie A’r M’enez – Bagad De Lann-Bihoué
15. suite Plinn – Bagad Keriz
16. Tuchant e arruiuo en hav – Kevrenn De Rennes
17. Marche du pays plin, dans tro-lin – Kevrenn De Rennes

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

 

  

A bagad is a traditional Breton music orchestra. The association of a bombard with a Breton bagpipe ("biniou") has a long tradition in the Brittany countryside. However, the Bagad-type formation appeared in Brittany only at the end of the second world War. It was inspired from the Scottish Pipe Band movement, which includes bagpipes ("cornemuses") and percussions. After integrating the bombard and an increasing number of different percussions, the bagad today constitutes a completely original form of musical expression. Nearly a hundred of such groups exist and perform today in Brittany. They are echoed throughout France by a number of Bagadou created by "emigrated" Bretons in Paris, Bordeaux, or Strasbourg.

Nowadays, almost 80 bagadou compete in five grades of competition. The grade one bands have to compete twice a year. The first contest takes place in Brest (western Brittany) in February and the second one in Lorient in August. The best bands are proclaimed champions of Brittany. At Brest, the bands have to play for ten minutes, music from a breton region choosen by B.A.S (Breton RSPBA) a few months before. Half of the medley has to include dances from this region (there are more than 50 different dances in Brittany). At Lorient, the bagadou have to play for 15 minutes of Breton music but they can also play music from other countries. Four bands who still compete today have been Breton Champions since 1980: Bagad Kemper, Bagad Ronsed Mor, Kevren Alre and Bagad Kemperle.

A few bagadou also play Pipe Band music. There are three contests a year in Brittany. The most important one is the International Pipe band Championship in Lorient in august. A visiting Scottish or Irish P.B. has won every year except for 1999 when Bagad Kemperle (Kemperle and District Pipe Band) were the first breton Pipe Band to win this contest. Nowadays, the best breton Drum Corps playing scottish music is Kemperle (they have won five times the International Pipe Band Championship in Lorient but the best Breton ambassador to play Pipe Band music is undoubtedly the Bagad Cap Caval. They will perform this year in the grade two of World Pipe Band Championships.

 

source 

   

♥♥

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)

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

"(...) 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 :)

 Bagad Bro Kemperle

home

space

face

In the 130 year history of bagpipe bands, a Bagad (or bagadou for the plural form) is a relatively recent phenomenon which is very similar to Scottish Pipe Bands. The first Bagad was formed in 1949 by Railway Workers in Carhaix. Bagad Kemperle is the oldest Bagad today, founded in 1949. Over one hundred Bagadou were founded during the following years. A Bagad consists of three groups of instruments: bagpipes, bombardes and drums.

more

 ♥

El baile del pato

   

Bagad Brieg
Karamba ! Le Canard Déchaîné
2005

Tracks:

1. Kosmos
2. La boum
3. Africa zob
4. Maille flowers ar bio ty fioul

5. Gavotte des montagnes
6. Fou d fouf
7. La salsa de salsifis
8. Kas a bar
9. Psycho reel zikko
10. Belles of dunblane
11. Jojo la frite
12. Karamba!

 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

        

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

 

Description rapide:

Un live, un rêve, un long rêve émaillé de bombardes claires, de rythmes saccadés comme des claquettes, du souffle puissant des cornemuses… voilà pour la solidité du « trad ». et voici qu'éclatent la fantaisie, le son lumineux des cuivres, que s'avance le velours de la guitare, l'émotion de la flûte jaspée de cordes et du doigté sur piano électrique : breizhoù universels, les « brieg » s'inspirent aussi de musique andine, de sonorités berbères. mélangez le tout, secouez très fort, ça donne du rock celtique. c'est fou ! fou ! fou !… » Angèle Jacq

A live recording, a dream, a perpetual dream of clear bombards, toe tapping rhythms and the powerful playing of the bagpipes that's the traditional background...

This is Bagad Brier... on a magic carpet flying to another planet.

 

 

Bagad Brieg

 

***

  

A bagad is a Breton band, composed of bagpipes (Breton: binioù, French: Cornemuse), bombardes and percussion (made up of snare, tenor and bass drums). The pipe band tradition in Brittany was inspired by the Scottish example and has developed since the mid-20th century. A bagad plays mainly Breton music, but a bagad's music is evolutionary (new forms and musical ideas are experimented with at each annual national competition).

The plural for bagad is unusual in that many are referred to as bagadoù but for two, three or any other specified number they are simply referred to as bagad (following the rules of Breton grammar).

Every major town and city in Brittany has at least one bagad and there are over 80 in total. There are also many bagadoù outside Brittany, owing to large-scale Breton emigration throughout France.

For competition purposes the bagadoù are ranked into five categories. Major competitions take place annually in Brest and in Lorient, where the National Championship takes place during the InterCeltic Festival in August.

  

 

♥