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Quebec band recommendations, round 2: Genticorum!

And now we come to the one band of my top seven about whom I had not previously done a recommendations post, an oversight I shall now be correcting with great pleasure. Because, O Internets, it’s now time for me to enthuse about Genticorum!

You’ve seen me post about these boys already, how I got a flute lesson from Alexandre and then got to see them perform live and then got to go to a house party they were at. You’ve seen me review their new live album. And if you’ve been reading my various tunes posts, you know I’ve got several Genticorum instrumentals queued up on the list of Stuff I Want to Learn How to Play.

Because yeah, I love me some fiddle players and all, but Genticorum? They’ve got the flute player. The one who makes the noises I can actually best try to make myself. The one who’s personally taught me tunes. They’ve also got the guitar player who contributed to my Kickstarter! These things are Important and means I can attest that not only are these guys all great musicians, they’re great people as well and you should buy every one of their albums. 😀

Wait, you want me to get specific? Okaaaaaaay fine. As you might guess from my review link I adore the new live album and do heartily recommend it, if nothing else for the KILL ANNA DED WITH HARMONY wonderfulness that is “La rouillette”, which is not currently available on any of the studio albums they’ve put out. But if you want to go studio, go Nagez Rameurs. Partly because not all of Genticorum’s discography is easily available to US customers–only the last three albums are available for MP3 purchase on iTunes and Amazon. But partly also because Nagez Rameurs has some assistance in the credits from none other than Le Vent du Nord’s Olivier Demers, and if you’ve been paying attention to my blog for more than five minutes running, you know that particular gentleman has already won from me the title of Best Fiddle Player Ever. So I have to endorse purchase of anything he had any involvement in whatsoever. (My musical favoritism, let me show you it!)

ETA: All this said, I listened to La bibournoise on the way home tonight and there’s a lot of strong stuff on that album, too. So if you like Nagez rameurs, by all means, get this one too! My preference for Nagez rameurs is only in degrees of awesome–because trust me, both these albums are highly enjoyable.

Favorite Genticorum tracks, off the top of my head:

“La rouilette”: As previously mentioned, for KILL ANNA DED WITH HARMONY wonderfulness. Note: the Genticorum boys skew higher on their ranges, so they’ve got tight, sweet harmony rather than thunder-rumbling low harmony, but that’s absolutely okay as far as I’m concerned

“La chasse”: Big lively number on the live album, also has a strong studio version on their first album, Le Galarneau (but that one’s hard to find, so if you want to hear this song, get the live album)

“Genticorum”: Self-titled song, also from Le Galarneau, but which has some great harmony and call and response in it

“Turlutte Hirsute”: On Nagez Rameurs, fun juxtaposition of turluttes and instrumentals

“Valse de Poeles”: Also on Nagez Rameurs, a slower instrumental. I can play this one! 😀 The backstory on this one in concert is fun, as the boys tell the story of how this one was written when they had to move some stoves

“Violon Guerisseur”: Yet again, on Nagez Rameurs, an excellent instrumental set

And here, have some videos so you can actually see and hear these boys in action! The La rouilette goodness (can’t embed this one, so I’m linking to it)! And here, here’s “Brandy culotte”, which appears on the album La Bibournoise:

ETA: This just in–here’s another video, straight from Genticorum themselves! This is the first of three from the same concert that Enregistré Live is from, the tune “La Finno Gaspésienne”, which is definitely one of my repeat tracks from the album.

Lastly, I must give a shoutout to Alexandre’s other musical project, which is the band Mélisande, led by his wife, and who I’ve also had the pleasure of seeing perform. Mélisande is a splendid singer and she and Alexandre are assembling what promises to be a good strong band on the new album they’re putting together. They’ve got a bit more contemporary feel going on with their music, so do consider checking them out too!

August 27, 2013 by Angela Korra'ti

Quebecois Music

Quebec band recommendations, round 2: Les Charbonniers de l’Enfer!

I said it before and I’ll say it again: goddamn, the gentlemen of Les Charbonniers de l’Enfer can SING. When it comes to hardcore fangirling, okay yeah, I’m flying my fangirl flag VERY high for Genticorum, De Temps Antan, and especially Le Vent du Nord… but musically speaking, the Charbonniers are right up there fighting it out with the younger boys for whose albums I play the most.

If you want to check out Quebec trad, you cannot go wrong with anything these gentlemen have recorded, but my earlier recommendation stands: get their live album. And in particular, get it in physical form if you can, because En personne comes with an awesome concert DVD. Mind you, okay yeah, the concert’s in Quebec, so all their between-song banter is of course in French. Yes, that’s going to be challenging for French newbies like myself. I don’t care. Get the DVD anyway just for the sheer fun of watching the Charbonniers perform. Having actually had the pleasure of seeing them live myself now (merci beaucoup, Memoire et Racines!), I’m here to tell you: they’re huge fun.

(And I’m considering it an eventual master class of practicing my French ear to eventually figure out what the hell the band is saying to each other in that concert, anyway. They’re clearly being hysterical, given how the audience is cracking up. There’s an entire lengthy sequence towards the end of “Everybody’s going to give Normand Miron a stern talking-to” banter in particular that’s fun to watch just for everybody’s expressions! And I will figure this out, oh my yes.)

And the other fun thing about the DVD is actually a bonus feature that comes on it–a featurette in which the Charbonniers went down to New Orleans for a performance down there, and they spent a lot of time just geeking out with folks of Cajun ancestry down there, about shared musical traditions and how much French the younger folks they ran into know and such. It’s a lovely little thing to watch.

Here’s a recent live vid of the Charbonniers (circa last year), so you can get a real nice idea of what they sound like from this:

Now, if you actually do want a studio album, I’d say either go with Wô (which has strong studio versions of most of the stuff on the live album), or with À la grâce de Dieu, which has several excellent tracks on it–and in particular, “J’aime bien mieux ma mie et sa chemise”. On which Michel Bordeleau sings lead and y’all know how I swoon for the harmony? HOLY CRAP YOU GUYS the harmony on those choruses. There’s harmony there that rivals “River Driver” and “General Taylor” and “Le retour du fils soldat” for killing Anna DED.

ALSO: it’s well worth mentioning that since pretty much everybody in this band is a veteran of the genre, you can find them all over the place on other albums. Michel Bordeleau, André Marchand, and Normand Miron all do double duty in the group Les Mononcles as well. Michel Bordeleau and André Marchand are of course both former members of La Bottine Souriante, so you can hear them both on earlier La Bottine albums. And André and Normand also have excellent albums with fiddler Lisa Ornstein, which are well worth your attention. And Normand also has some work he’s done with Bernard Simard and I DO love me some Bernard Simard vocals too.

So yeah, if you start looking around the genre at all, you’ll run into these names a LOT. Absolutely justifiably, because they are consummate musicians. Especially André Marchand, who as near as I can tell appears to be the Nick Fury of Quebecois Trad, in how he’s working with a lot of younger musicians and passing down his know-how.

TL;DR summary: Jesus hopping Christ on a pogo stick the Charbonniers can sing, and you should give them All the Monies. Preferably enough to get them to come west for shows so I can see them perform more often!

August 27, 2013 by Angela Korra'ti

Quebecois Music

Quebec band recommendations, round 2: Galant, tu perds ton temps!

Here we have another band who dropped a new album since I put up my original recommendations post about them: Galant, tu perds ton temps!

As with previous posts in this series, pretty much everything I said in the first one for the Galant ladies still holds true–with the notable exception that they do have a shiny new album out, Soyez heureux, which I reviewed here. And now that they do have that new album out, I need to update my “What album should you get?” rec for them–because yes, you should absolutely get this album if you’re interested in checking out this group, just on musical strength alone. (The other two albums are also available to US customers on digital markets, but if you’re going to pick one album, get this one first.)

They’ll be a bit more challenging to follow for newbies at French like myself, since so far I haven’t been able to confirm whether they have publicly available lyrics–I’ve only been able to find lyrics to one of their songs so far, and they don’t have any posted on their website. But if you don’t consider that a drawback, then absolutely, give these ladies your listening attention. As I said in the album review post, I adore the complexity and precision of their vocals. And they all have distinct and lovely voices as well, which blend beautifully in those many layers of harmony.

As you can see here, courtesy of bordurat on YouTube (source of MANY excellent Quebec music vids), you can see the group performing the title track off the new album:

Though I’ll link to this one again as well, “Les promesses du galant”, just because it IS one of my favorites off the album before:

Find the Galant ladies on their official site, as well as on Facebook and Twitter. Go check ’em out!

August 27, 2013 by Angela Korra'ti

Quebecois Music

Quebec band recommendations, round 2: La Bottine Souriante!

As I’ve written before, La Bottine Souriante has the distinction of being the first Quebec band I ever saw perform live, and I said a great deal about them on this post over here. Most of what I had to say there still stands, with some notable exceptions.

First and foremost, as of this writing, La Bottine’s discography has become available for digital purchase on both iTunes and Amazon’s MP3 store! So if you’re a US fan of Quebec music like me, your chances of finding a La Bottine album have now improved considerably.

Which of course brings me to the question of what album should you get? The answer to that’s going to depend on what era of La Bottine you want to investigate, since they seem to come in four overall eras to their sound. I tend to break La Bottine down into “Yves Lambert era” and “Eric Beaudry era”, both of which have their massive appeal to me.

Yves’ Lambert’s era is classic La Bottine, and saw the rise of their mighty, mighty horn section. M. Lambert’s era also saw such seriously impressive musicians as André Marchand and Michel Bordeleau being in the lineup. This era is well worth your time, and if you want to sample it, I’d highly recommend La Mistrine as a studio album at the height of the band’s power in that era. Or, En spectacle for a marvelous live performance. Especially the opening “Ouverture” track, which features what’s kind of the canonical La Bottine tune–Sheepskin and Beeswax, one of the ones I’m trying to learn. I LOVE how they fire this one up, with the rumble out of the bass, then layering in the feet and the melody, until at last the horns start punching in with syncopated goddamn glory and oh, it’s wonderful.

The Eric Beaudry era kicked in with the album J’ai jamais tant ri, and at least as of that album, La Bottine also had Pierre-Luc Dupuis singing a lot of the lead, as well as André Brunet’s fiddle firepower and occasional lead singing as well. All three of these boys have gone on to form De Temps Antan, of course–so that particular La Bottine album rather sounds like “De Temps Antan plus a horn section”. This is not a bad thing!

If you want to get an idea of what La Bottine sounded like as of that album, check out this YouTube fan vid. It’s somebody’s almost entire vid of a La Bottine concert, in which you get to see Eric, André, and Pierre-Luc all rocking it the HELL up. There’s a jumbotron. There’s crowdsurfing. It’s AWESOME.

Now, I tend to prefer classic La Bottine over current, but that said, Eric Beaudry IS right up at the top of the list of Quebec musicians for whom I want pretty much every note they ever recorded (he’s fighting it out with Olivier Demers for the top spot on that list!). As I’ve also mentioned before, any band with a Beaudry in it gets my immediate and undivided attention. M. Beaudry’s vocals are splendid, and he is an amazing bouzouki player. In fact, musically speaking, he is my current favorite bouzouki player, and I do not say this lightly–as anyone who knows I’ve been fangirling Alan Doyle for the last 13 years knows! So his contributions to La Bottine are not to be underestimated in the slightest.

So if you go with Beaudry-era La Bottine, get their most recent release, Appellation D’Origine Contrôlée. I have a full review of this album right over here. I am madly, madly I tell you, in love with “Au rang d’aimer”. I’m trying to learn that one on the guitar. And yes, it’s one of the tracks M. Beaudry sings lead on. You may now show me your lack of surprise faces, Internets. 😉

Also, I’ll add that if you want to track what happened to other members of La Bottine who are no longer in the band, the aforementioned Yves Lambert is still doing music, and he’s got excellent albums available here. Michel Bordeleau and André Marchand are both now in Les Charbonniers de l’Enfer, deploying their massive vocal talent, and they’re also doing double duty as two of the members of Les Mononcles, where they’re doing instruments as well as vocals.

August 27, 2013 by Angela Korra'ti

Great Big Sea

Great Big Sea at the PNE in Vancouver, 8/21/2013

48-hour turnaround time: fastest trip I’ve done to Vancouver in some time! Possibly EVER! Because yeah, my belovedest Dara and I zoomed up to Vancouver by train on Wednesday morning, and home again on Thursday night. We crashed at the home of friends Geri and Rob, and the purpose before us was, of course, GREAT BIG SEA!

We got up to Vancouver around noonish on Wednesday as per usual for the train, and promptly took the Skytrain over to Geri and Rob’s so we could crash for a while before heading off to the show. The B’ys played this time at the PNE, the Pacific National Exhibition, a venue that reminded me a lot of the Seattle Center during Folklife–only with a lot more of an amusement park/fairground feel to it. There were many more rides and a lot more fair food, but less music.

Shoutouts must be given to the other fans we met up with, in particular Kate, Helen, Robin, Angela, Angela’s mom Venus, and Angela’s grandmother as well (whose name I didn’t catch, sorry about that). Several of us all took time to go see the Superdogs show before GBS went on stage, and that was fun. Lots of acrobatic stunts with very cleverly trained dogs, and it gave us at least something else to spend our fair admission on. Which was $16 at the gate–and which also made it by far the cheapest ticket I’ve had to a GBS show in quite some time.

We nommed fair food for dinner, and as we were in fact in Canada, I naturally had to have poutine. Because nom. I have no idea who invented poutine, but my hat is off to whatever enterprising soul first decided that fries + gravy + squeakycheese = nom. And before we got into the show space, I amused myself buying a ten-dollar light-up toy that spun little colored bulbs on threads, thinking it’d be fun to have that during the show.

The show was outdoors, in a nice large ampitheater space, and we ducked in fairly early so that Geri and Rob could claim their seats in the reserved area and Dara and I could get as far forward in the GA area as possible. That let us also of course see superfan Lynda (I do always spot her at the concerts), and greetings were exchanged! This was the first time as well that I’d been at a GBS show large enough and in an appropriate space for using jumbotrons. There were two of them, one to either side of the stage, and all throughout the show they kept alternating between showing the band members and showing people in the audience.

Naturally, Dara and I had our Cascadia flag! We had great fun waving that around, and Geri was startled to note that my pink shorts, taken together with the blue, green, and white of the Cascadia flag, actually made for very Newfoundland-friendly colors. I noted wryly that I had not in fact done that on purpose. But yeah, the Cascadia flag? Very Newfoundland-friendly colors. And Dara and I in fact were mistaken for Newfoundlanders by the girls behind us!

Round about 8:30, the show got underway! It was a single set show, and very tight and fast–not entirely without banter, but less rambly than some shows I’ve been to. I didn’t get any pictures since we were outdoors in the dark, and I’m not good at getting shots under those conditions. Dara did however get several nice shots, which you can find at her flickr page over here.

Alan in particular was rocking his bearded look, as he often does when he’s about to do another stint on Republic of Doyle or is just coming off of one:

Also, the light show was REALLY awesome!

And now, the Set List!

Ordinary Day
Donkey Riding
When I’m Up
Heart of Hearts
The Night Pat Murphy Died
Goin’ Up
England
Beat the Drum
When I am King
Safe Upon the Shore
Scolding Wife
I’m a Rover
Let My Love Open the Door
Sea of No Cares
Helmethead
Consequence Free
Mari-Mac
Run Run Away
Encore #1: Live This Life / Old Black Rum
Encore #2: Wave Over Wave

“Paddy Murphy” was the first big bit of amusing banter. Séan did the intro with “Alan got a little bit drunk / and Bob got a little wet! As long as a bottle was passed around, Murray Foster was feeling…” Then he trailed off meaningfully, getting the audience to roar “GAY!” This took a couple tries, in fact–and Séan got a huge cheer by adding, “We’re not in Russia, it’s OKAY!”

And I am chagrined to note that I TOTALLY missed that Bob sauntered over and laid one on Murray at that point because I was frantically typing notes into my phone. DARA, however, caught it and suitably lost it laughing! “Paddy Murphy” also, according to Kate, had our first indicator that the B’ys were dropping hints about where they’d be after the show–since they referenced the Railway!

ETA: I am informed that it was actually Séan who went over to smooch Murray. Either way: HA!

It was after “Beat the Drum” that Alan went into a lament about jet lag, remarking, “I myself woke up at 5:15!” Dara, at that point, yelled “SO DID WE!” And trust me when I say that Dara is in a position to understand that usually, when a musician sees an hour that stupidly early, it’s from the other direction.

Alan added that he went for a run in Stanley Park, where he ran into Séan–and Séan said that he loved Stanley Park, and that everybody is beautiful there. Even Alan. LOL. He then went off into an improv on “New Moon”, and Alan informed the audience that they did in fact have the day off tomorrow, with the unforgiving checkout time of noon. Another big indicator that “yes, we will in fact be on the loose after the show”.

I must also specifically call out “Safe Upon the Shore” for DEAR GOD DEATH BY HARMONY. We didn’t get “General Taylor” or “River Driver” this time, but whenever they unleash “Safe Upon the Shore”, I’m OKAY WITH THAT. This time around they nailed it beautifully and I kept having to brace for the impact of the choruses. They were shiver-inducingly glorious. That said, Dara and I still kept giggling and going “BRAAAAAAAAAAINS” at one another given that this whole song is about a corpse.

I’ve said it before and I’ll say it again: “Scolding Wife” is huge fun, and Dara and I had fun with our arms around one another singing this. I in particular let out with “Ahh, she’d sell me to the devil for a glass or two of VODKA!”

“I’m a Rover” was the point in the concert where Alan let out his funniest bits during the whole show–by looking up at the biggest and most notable ride within view of the stage, one of those ones that’s a great big whirling arm with two cars on either end. Alan took a look at that thing and told the audience it’d just then occurred to him that JAYSUS THERE ARE ACTUAL HUMAN BEINGS IN THAT! And that it was kind of freaking him out!

This song also got a wry little mention of Bob in the last verse as well: “we both shook hands and embraced his fiddle!” Muaha. It’s okay to love your fiddle. You might not however want to LOVE your fiddle. >:D

Leading into “Sea of No Cares” (the slow version, which is how they’ve been doing the song at the last several shows I’ve attended), Alan made cracks about their first show in Vancouver being back in 1956. Which always makes me giggle, since it totally reminds me of Elvis making jokes about HIS first shows being in 1912. And after SoNC, Alan joked further about the west coast always surprising the band since “people go in the ocean recreationally here!” At which point Séan joked that that isn’t ALL they do recreationally here.

After that they pretty much charged through the rest of the set non-stop. And I was stunned, STUNNED I TELL YOU, that we didn’t actually get “Excursion Around the Bay”! But I did love hearing “Wave Over Wave” again, and in particular pointing out to Dara how Murray’s been breaking out a bouzouki for this song. And I liked pointing out to her as well that both Alan and Bob had their own bouzoukis for “Live This Life”. Because all things are made better with bouzoukis, including Great Big Sea encores.

After the show Dara and I sadly had to bow out of the attempt to head to the Railway, since Geri and Rob were our ride and they weren’t up for it. But we did fetch tasty Siegels bagels on the way back to Burnaby, and we drank cider, and that was a lovely close to the evening! I’m told that the B’ys did in fact show up at the Railway, and so next time I hit a GBS show in Vancouver, there will have to be a bit more judicious planning for possible post-show shenanigans. (Because I need me a pic of me and Alan and Jean-Claude the mammoth. I DO! >:D)

Further edits will happen to this post if anybody points me at publicly linkable pictures or videos!

August 24, 2013 by Angela Korra'ti

Quebecois Music

Quebec band recommendations, round 2: La Volée d’Castors!

I posted back in 2011 about my recommendations for La Volée d’Castors, who remain one of my top favorite Quebec bands even though they’ve more or less gone inactive. Much of what I said in that previous post still holds true!

But since I did that post I did in fact pick up their holiday album, L’album du temps des fêtes, because I am a completist that way. And I have to admit that it was great fun to hear French interpretations of otherwise familiar-sounding holiday songs, as well as some things that weren’t familiar to me at all. And there’s some fun almost 50’s-style vocals on one of the tracks on that album, too, which was particularly surprising in the context of Quebec trad and the holidays.

Also, I must call to your attention this excellent video from 2003, which is of a VDC concert. The band’s in great form here and you’ll hear several of the tracks that appear on the albums VDC and Migration. Look towards the back to spot Réjean Brunet, now of Le Vent du Nord, on the bass!

My previous favorite songs and albums of theirs still stand, but I can also note that it’s come to my attention that three of the gentlemen previously involved with VDC are now involved with a new group, La Cantinière, and they’re about to drop a new album which is available on bandcamp over here. So if you like the vocals in VDC, this should be well worth your attention as well!

August 24, 2013 by Angela Korra'ti

Quebecois Music

A guide to Quebec trad for English speakers

Internets, as you all know, I’ve been happily fangirling Quebec traditional music for a couple of years now, and quite a few of you have started to ask me questions about it. And because I like you, Internets, and I want to share with you the musical goodness, I’d like to present for you a Guide to Quebecois Traditional Music for English Speakers!

Q: What is Quebecois traditional music?

A: A very close cousin of Irish/Celtic trad. If you’re a fan of Irish or Scottish music, you’ll probably find Quebec trad very compatible to your tastes; there’s a lot of overlap between the two genres.

Q: What makes Quebec trad differ from Irish/Celtic/Scottish/etc.?

A: Three main differences, which are:

Podorythmie. With most Celtic bands the percussion will usually be handled by a bodhran player, who may double up on shakers or bones. There may or may not be an actual drumkit depending on how far into rock the band in question slants. With a Quebec trad band, though, the percussion is almost always handled by someone who does podorythmie, the rhythmic footwork that’s a big signature sound for the genre.
Call and response. Quebec trad is very heavily structured around call and response, where you’ll have whoever’s singing lead echoed by the rest of the band. Relatedly, you’ll find a great number of Quebec trad songs structured in such a way that the first line of a verse will be called, then responded, and then the verse will finish up with a chorus and then a second line which will then roll over into being the first line of the next verse. (This is a very helpful song structure when you’re a newbie to French and you’re trying to figure out how to sing the words!)
Now, sure, call and response isn’t unknown in Celtic trad in general–but I’ve seen it be a LOT more common in Quebec trad. It makes the songs highly participatory and that’s one of the big reasons I love singing along to the songs so much.
Turluttes. You’ll find a lot of Quebec trad songs will have a turlutte section, sometimes small, sometimes dominant, and sometimes as the entire song. Turluttes are when you get a singer or group of singers vocalizing a melody that in other traditions might be played with instruments. You’ll also hear this referred to as mouth music or mouth reels, similar to puirt à beul or lilting.
As the Wikipedia link I’ve pointed at in the previous paragraph calls out, turluttes are built out of a set of specific phonemes–a lot of t and d and l and m sounds. They’re almost always up-tempo and joyous and great, great fun.

A truly splendid example of turluttes in action can be found sung by Les Charbonniers de l’Enfer right over here, with bonus podorythmie solo in the middle.

Q: How is Quebec music similar to Irish/Scottish/Celtic music?

A: Lots of Quebec trad will be familiar to Celtic music fans just because there’s a rich heritage of tunes, jigs/gigues, reels, etc. There are some fun musical and stylistic differences that instrumentalists will notice–particularly how many Quebec tunes are often played “crooked”, doing interesting things to time signatures and varying up the rhythm. If you’re an instrumentalist you’ll want to listen for that.

Likewise, a lot of the topics of the songs will be familiar to Celtic music fans. Alexander James Adams has been often quoted (in particular by me!) as saying that the three main categories of Celtic music are Whiskey, Sex, and Death. This is also true of Quebec music, although from what I’ve seen in Quebec music, it’s more like Wine, Sex, and Death, with a side helping of Religion. (I’ve noticed quite a few songs involving shenanigans that involve priests, for example. 😉 )

Q: Do I need to be able to speak French to appreciate Quebec trad?

A: No! Certainly no more than you need to be a Irish or Scots Gaelic speaker to appreciate Celtic music, anyway. I find that studying a little bit of French enough to let me get an idea of how Quebec trad lyrics go enhances my appreciation of the songs considerably, but you don’t have to go to the lengths I’m going. A lot of the most active bands in the genre post lyrics to their websites, often in both French and English, and even if they only post the French lyrics that’s enough for you to throw the words through a translation engine.

And there’s fun stuff to be found in the lyrics, too. Plus if you do that, you get to be one of the Anglophones in a Quebec trad concert who can start snickering at all the best bawdy bits of songs!

Also, turluttes are language-agnostic!

Q: Enough overview! Who are some bands or artists I can check out?

The ones I’m most fond of are La Bottine Souriante, La Volée d’Castors, Galant, tu perds ton temps, Les Charbonniers de l’Enfer, Genticorum, De Temps Antan, and especially Le Vent du Nord!

And if you have trouble telling all those names apart, I can direct to you to this handy flowchart I made for that exact problem!

Quebec Band Flowchart

For a nice crossover of Celtic and Quebec fiddle styles, I also highly recommend Celtic Fiddle Festival, who feature André Brunet of De Temps Antan. There are also a couple of excellent albums done by André Marchand and Grey Larsen, specifically on the theme of crossover between Irish and Quebec music, and I recommend those too. You can find them here.

I will update this FAQ with new data as I think of it. I did overviews on my favorite bands a while back but I’ll be posting new ones as well, since several of the bands in question dropped new albums since I originally wrote those posts.

Any questions I haven’t covered here? Shoot ’em at me!

August 23, 2013 by Angela Korra'ti

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