Rage de Danse by La Chavannee

This edition is from our archives, so it is presented as scanned pages rather than text.

Mention has to be made also of the snatch of Handel’s Sinfonia which closes the record. Orchestral versions of this tune pale into insignificance compared to Nigel Eaton’s rendition on the hurdy gurdy (with Jon Swayne’s accompaniment). Now what a treat this would have been if done as a full-length piece!

Now that the listening public is more accustomed to hearing bagpipes and hurdy-gurdies in a band context, bands like Blowzabella can be more adventurous in their choice and arrangement of material. Rather than take the safe option of repeating a formula which proved successful in the past, Blowzabella are still in a state of active evolution, both enriching the tradition and pushing back its boundaries, and for that we can be sure that they will continue to develop in new and challenging directions.

Whatever the next album brings though, let us hope that it features Jon Swayne’s amazing bass bagpipe!

Simon Owen

Rage de Danse: La Chavanée: unnumbered self-produced cassette

La Chavanée are a group based in Bourbonnais and comprise Florence Blin, accordéon diatonique; Patrick Bouffard, vielle; Pascale Daumin, accordéon diatonique; Eric Elsener, musettes/flute; Maxou Heintzen, vielle; Emmanuel Paris, violon; Frederic Paris, vielle/musettes/accordeon/clarinette/flute. (The term musette refers to the Bourbonnais bagpipe. Several sizes are represented here, namely, 14, 16, 20 and 26 pouces pitched in A, G, D and low A respectively. Philippe Prieur joins the group to play pipes of 20 and 26 pouces.)

This is a quite remarkable production in many ways; the tunes, with one exception, are all written by members of the band and are in traditional dance style — waltz, bourrée, schottische, etc. There are eighteen in all. By no means do all the instruments play together all the time: indeed often a tune is given to the vielles, or bagpipes or accordéons. The arrangements are simple, restrained and strictly traditional (except for the bagpipes in harmony?). There are no hectic tempi, no attempts to generate (a sometimes spurious) excitement, no fusions of the traditional with the modern. In the light of recent trends in folk music stemming from the problems of ‘performance’, some might find only blandness here, and yet I find this record completely enchanting. The quality of the music and musicianship is outstanding: there is something for any musician to learn here, especially those who play the instruments represented. By their contained and inward, almost contemplative approach the group manage to conjure an extraordinarily beguiling atmosphere. If I had to pick out one tune, it would be an irresistible waltz by Eric Elsener entitled ‘Callipyge’. If I interpret the meaning of the title correctly (literally — ‘beautiful-bottomed’), there is no doubt that his inspiration was effective.

Note: If, as seems likely, this cassette cannot be obtained over here through the usual channels, I will be happy to investigate the possibility of ordering direct from the group if there is a demand.

60 Chanter 61

Scano Boa: Calcicanto: ed La Torre X3
The members of Calcicanto, a north Italian group, are Corrado Corradi, concertina, guitar (battente), percussion; Massimo Furnagelli, bagpipe, guitar, etc.; Riccardo Sandini, violin; Giancarlo Tombesi, double-bass, percussion; Roberto Tombesi, vocal, organetti (melodeons), bouzouki, percussion, etc.

This record is of variable quality, with some very exciting sounds here and there, but is of chief interest for the bagpipe. It is a northern mountain instrument hitherto neglected, reconstructed and played here by Massimo Furnagalli.

Jonathan Swayne

Chanter