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VARIOUS Buntús Rince: Explorations in Irish Jazz, Fusion & Folk 1969-81

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1970~80年代アイルランドにおけるジャズ、フュージョン、フォークロックシーンを切り取った一枚!独自の発展を遂げた音楽性や実力のあるミュージシャンは存在しながらも、レーベルや流通の乏しさによりリリースが限られ”最も過小評価された”時代の作品をコンパイル。あまりに旋律的で驚きました。

昨年は各種メディアにて”ベスト・リイシュー”を獲得したMICHAEL O'SHEAの再発を手がけた〈ALLCHIVAL〉から。60年代後半のアイルランド移民帰国、海賊ラジオの出現、シンセサイザーの流入など、芳醇な音楽的成長機会によって独自に発展を遂げたアイルランドミュージックシーン。その中で腕のあるミュージシャンが数多く登場するも、その殆どが活躍のチャンスが多くある国外に。今作品の収録された大半が、アイルランド以外では知られていないアーティスト。ケルト民謡とジャズオーケストラが邂逅したJOE O'DONNELL「Caravan」(sample1)や、GRANNY'S INTENTIONS「Nutmeg, Bitter-Sweet」 (sample2)など、鳥肌が立つような直情的旋律が本当に独特。 (Akie)

▼ Tracklisting

A1. NOEL KELEHAN QUINTET  -  Spon Song   (3:59) sample
A2. JOHN WADHAM  -  Floatin'   (6:08) sample
A3. LOUIS STEWART  -  Araby   (6:35) sample
B1. JOE O'DONNELL  -  Caravan   (2:29) sample
B2. TASTE  -  On The Boards   (6:00) sample
B3. GRANNY'S INTENTIONS  -  Nutmeg, Bitter-Sweet   (3:10) sample
B4. MELLOW CANDLE  -  Lonely Man   (4:29) sample
C1. SONNY CONDELL  -  Red Sail   (6:57) sample
C2. SUPPLY, DEMAND & CURVE  -  When You're By Yourself   (5:28) sample
C3. ROSEMARIE TAYLOR  -  Mr Sleep   (3:22) sample
C4. APARTMENT  -  Weekend   (3:13) sample
D1. THE PLATTERMEN  -  African Wah Wah   (4:28) sample
D2. JONATHAN KELLY'S OUTSIDE  -  Misery   (6:23) sample
D3. DR. STRANGELY STRANGE  -  Mary Malone of Moscow   (3:55) sample
D4. STACC  -  Holy Smoke   (3:57) sample
D5. ZEBRA  -  Silent Partners   (3:05) sample

‘Buntús Rince’ translates from Irish as ‘basic rhythms’, and this new compilation explores how Irish musicians were influenced by strands of different genres of music from around the world, merging them to create their own unique sounds. The compilation features some of the most innovative and talented figures in the history of Irish music and includes rare Irish jazz, fusion and folk outliers from the 1970s and early 1980s from musicians relatively unknown outside of Ireland.

Often regarded as a musical backwater, the 1970s finally saw Ireland begin to make its mark on international music. The nature of this feat is all the more commendable, considering how isolated and conservative the country still was in the middle of the last century. The emergence of acts like Skid Row, Thin Lizzy and Van Morrison instilled in budding young Irish musicians the belief to dream big.

Unlike many other European countries, Ireland had not benefited from the cultural impact of immigration. Pioneering Irish musicians did not have access to the type of vibrant music scenes ubiquitous to most European cities at that time. With no talented players or even in some cases recordings of the music, they had to cultivate and invent their own small scenes.

A jazz scene had begun to blossom in Dublin in the late 1950s. Self-taught players like Noel Kelehan and Louis Stewart emerged as the Irish standard-bearers. Their level of musicianship saw them play with some of the world’s most renowned artists. The 1960s would see the emergence of the ‘beat’ scene in Ireland, with groups like Granny’s Intentions, Taste and Eire Apparent finally challenging the hegemony of Irish Showbands. Change was in the air. The late 1960s also saw many Irish emigrants returning home, bringing with them inspiration from the new styles and sounds of London and further afield. The arrival in the late 1960s of pirate radio stations like Radio Caroline, new music magazines and the availability of music on vinyl meant that different genres were now becoming more accessible. The musical landscape of the country began to transform and evolve, influencing a new generation of musicians in the process. The 1970s saw advancements in studio technology. 8-track studios began appearing in Dublin, offering more opportunities for groups to record singles and albums. Synthesizers and other instruments were also becoming easier to acquire as the younger generation turned to electric jazz and fusion music. While the level of musicianship was high, the levels of opportunities in Ireland were still very limited. Many groups and solo musicians had to emigrate to try and succeed. Thankfully for those who remained, this new emerging scene didn’t go totally unnoticed and local labels began to take a chance on more obscure Irish groups. Labels like Mulligan and also producers like John D’Ardis and Terri Hooley championed and documented music from the Irish underground of the 1970s.

Their valuable work is a common thread which connects many of the tracks on this compilation. From the soaring flute playing of Brian Dunning, to the swinging piano of Noel Kelehan and the sonic force of Jolyon Jackson’s synthesizers; ‘Buntús Rince’ lifts the lid on a vastly underappreciated period of Irish music history.
One for the collectors.

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