Santiago / The Chieftains

Santiago
The Chieftains





amazon.com
thechieftains.com
RCA Victor | BMG Classics 09026-68602-2
1996





THE CHIEFTAINS

DEREK BELL: Harp, Tiompán, Harpsichord
MARTIN FAY: Fiddle
SEÁN KEANE: Fiddle
KEVIN CONNEFF: Bodhrán, Vocals
MATT MOLLOY: Flute
PADDY MOLONEY: Uilleann Pipes, Tin Whistle

With very special guest CARLOS NÚÑEZ: Gaita, Recorder, Whistle, Bombard

Guest musicians as indicated in each track



THE PILGRIMAGE TO SANTIAGO

1. Txalaparta  [1:17]
Kepa Junquera, Julio Pereira: txalaparta
Kepa Junquera: trikitixa (accordion) — Julio Pereira: cavaquinho (Portuguese ukelele)


2. Arku-Dantza / Arin-Arin  [4:21]
Kepa Junquera: accordion, tambourine — Julio Pereira: cavaquinho

3. El Besu (The Kiss)  [2:19]
Zuacu Amieva: rabel, voice

4. Não vas ao mar, Toino (Don't go to the sea, Toino)  [2:02]
Julio Pereira: cavaquinho, percussion — Lance Doss: bass

5. Dum Paterfamilias / Ad Honorem  [3:14]
Codex Calixtinus, cc 117 / cc 115
Ultreia Choir conducted by Fernando Olbés: voices


6. Dueling Chanters  [2:54]
(Sixpenny Mondy / Polka de Vilagarcia)

7. Galician Overture  [11:01]
Xoven Orquestra de Galicia conducted by Joam Trillo
Diego Bouzón: Spanish guitar — Pancho Álvarez: mandolin — Antón Requeixo: drum
Hipólito Cabezas: tambourine — Steve Cooney: guitar


8. Guadalupe  [2:52]
Linda Ronstadt: vocals — Los Lobos: Mexican string instruments and percussion

9. Minho Waltz  [3:21]

10. Setting Sail / Muineira de Frexido  [3:26]
Xoven Orquestra de Galicia

11. Maneo  [3:27]
Eliot Fisk: classical guitar — Ciro Baptista, Jeffery Lesser, Paddy Moloney: hand clapping

12. Santiago de Cuba  [3:38]
Ry Cooder: mandola — Pancho Amat: tres — "Cachaíto": double bass
Richard Egües: flute — Roberto García: percussion


13. Galleguita / Tutankhamen  [4:08]
Ry Cooder: mandola — Coro Folklórico: vocals — Zozaya and Pío Leiva: vocal soloists
Pancho Amat: tres — "Cachaíto": double bass — Richard Egües: flute — Roberto García: percussion


14. Tears of Stone  [2:40]

15. Dublin in Vigo  [7:07]

A. Alborada Gallega
B. Miudiño
C. Lola
D. Jackson's Morning Brush
E. Muiñeira de Cabana
F. Muiñeira de Chantada

Matto Congrio: vocals, dance — Wenceslao Cabeza "Polo" solo vocals, tambourine






THE CHIEFTAINS
Santiago

More than twenty years ago my dear friend Polig Monjarret introduced me to the wonderful music of Galicia, a green and hilly region in the northwest corner of Spain. With an economy historically based on fishing and farming, it has traditionally been one of the poorest regions in Europe. Galicians speak their own language (closer to Portuguese than Spanish). The culture, particularly the music, has more in common with those of Brittany, Wales, Scotland and Ireland than Castille or Andalusia. Galicia was once described as "the world's most undiscovered Celtic country".

In 1984, in the seaport of Vigo, I performed at an outdoor festival hosted by the Galician band Milladoiro. It was here that I was introduced to a quiet and polite lad by the name of Carlos Núñez. A few years later a young and gifted Galician piper played for us during our visit to the traditional music Conservatoire of Ploemeur in Brittany. To my surprise and delight, he turned out to be the very same lad.

A short time later, with the assistance ol Polig and Fernando Conde, Señor Núñez's equally young and knowledgeable associate, I made arrangements to have the precocious piper from Vigo join the Chieftains on stage. The evening turned out to be a glorious meeting of musical styles and traditions. From that moment I was determined to recreate and expand upon the experience, to capture its essence on record as we had done years before with the music of Brittany on "A Celtic Wedding".

The project evolved slowly, taking us in many new and exciting directions never imagined that first night in Vigo. Carlos joined us on stages around the world, thrilling audiences with his unrivalled skill on recorder and Gaita (Galician bagpipes). At times he could almost have been considered a seventh member of the Chieftains. We recorded as we travelled, deriving inspiration for our musical movements from the places we visited along the traditional pilgrims route to the enchanted cathedral of Santiago de Compostela. Christians hold the site sacred and believe it to be the final resting place of St. James the Apostle. Older legends dating back to ancient Celtic times speak of another pilgrimage that followed the stars of the Milky Way to Land's End (Finisterre). Transcending its own mysterious origins, the Pilgrimage continues to draw countless thousands from around the world to this faraway land.

During our travels we sampled the many moods and musical styles of the surrounding cultures, from Breton to Basque, from Asturian to Portuguese and beyond. There is music from Medieval times, when the Pilgrimage reached its peak, and music dating further back with far more obscure origins.

Music of a more contemporary history evolved when Galicians, like many of their Celtic cousins, emigrated in great numbers to the new world. Whether by design or necessity they settled primarily in the south, spreading their roots from Mexico and the Caribbean through Central and South America. In our travels, we were able to sample only a taste of this exotic fare, to Cuba with Carlos and our good friend Ry Cooder and later to southern California with Los Lobos and Linda Ronstadt.

Other countries with music steeped in the richness of Galician tradition tempted us to continue the pilgrimage. Unfortunately, for now, time and schedules have put an end to our travels. Argentina, Brazil, Venezuela, all will have to ait for another time, another
project, another journey back to Santiago.

PADDY MOLONEY
July, 1996



THE CHIEFTAINS
Santiago

Hace más de veinte años, mi querido amigo Polig Monjarret me introdujo a la maravillosa música de Galicia, una region verde y montañosa del noroeste de España. Galicia, cuya economía se ha basado principalmente en la pesca y la agricultura, ha sido desde siempre una de lus regiones mis pobres de Europa. Los gallegos hablan su propio idioma (más parecido al portugués que al español). La cultura, especialmente la música, tiene más en común con la de Bretaña, Gales, Escocia e Irlanda que con la de Castilla o Andalucía. Galicia fue descrita en otros tiempos como "el país céltico menos descubierto".

En 1984, en el viejo puerto de Vigo, actué en un festival al aire libre organizado por la banda gallega Milladoiro. Allí fue donde me presentaron a un joven tranquilo y cortés llamado Carlos Núñez. Unos años mas tarde, un joven y talentoso gaitero gallego tocó para nosotros durante nuestra visita al Conservatorio de música tradicional de Ploemeur en Bretaña. Quedé gratamente sorprendido al descubrir que el mismo joven que tocaba era el que yo conocí en Vigo.

Poco después, y con la ayuda de Polig y Fernando Conde, el asociado igualmente joven e inteligente del Señor Núñez, hice los preparativos para que el precoz gaitero de Vigo tocara junto con The Chieftains en una función. La noche resultó una gloriosa reunión de estilos y tradiciones musicales. A partir de ese momento, me decidí a recrear y desarrollar la experiencia para capturar sus esencia en una grabación, tal y como habíamos hecho años atrás con la música de Bretaña en "A Celtic Wedding".

El proyecto se desarrolló lentamente, llevándonos por rumbos excitantes y nuevos nunca imaginados en esa primera noche en Vigo. Carlos se unió a nosotros en escenarios de todo el mundo, conmoviendo ali público con su destreza sin igual con la quena y la galta. A veces, parecía que era el séptimo miembro de The Chieftains. Grabamos mientras viajábamos, derivando la inspiración por nuestros movimientos musicales en los lugares que visitábamos a lo largo de la tradicional ruta de los peregrinos a la catedral encantada de Santiago de Compostela. Los cristianos respetan el lugar como sagrado y creen que es el lugar donde está enterrado el Apóstol Santiago. Las leyendas más antiguas de los tiempos célticos hablan de otra peregrinación que seguían las estrellas de la Vía Láctea hacia el fin de la tierra (Finisterre). Trascendiendo sus propios orígenes misteriosos, el peregrinaje sigue atrayendo a miles de personas de todo el mundo hacia esta tierra lejana.

Durante nuestros viajes, probamos las emociones y estilos musicales de las culturas cercanas, desde la bretona a la vasca, desde la asturiana hasta la portuguesa y más allá. Hay música de los tiempos medievales, cuando el peregrinaje estaba en su momento cumbre, y música de una época más antigua con orígenes mucho más oscuros.

La música de la historia más contemporánea evolucionó cuando los gallegos, como muchos de sus primos célticos, emigraron en masa hacia el nuevo mundo. Ya fuera por el diseño o por la necesidad, se establecieron principalmente en el sur, anclando sus raíces desde México hasta el Caribe y América Central y del Sur. En nuestros viajes, sólo pudimos probar algunos de estos estilos exóticos. A Cuba con Carlos y nuestro buen amigo Ry Cooder y luego al sur de California con Los Lobos y Linda Rondstadt.

Otros países con la música impregnada en la riqueza de la tradición gallega nos tentaron para seguir el peregrinaje. Desgraciadamente, por ahora, el tiempo y los horarios han detenido nuestros viajes. Argentina, Brasil y Venezuela tendrán que esperar otro momento, otro proyecto, otra jornada de regreso a Santiago.

PADDY MOLONEY
Julio de 1996





Pilgrimage to Santiago

1. TXALPARTA
2. ARKU-DANTZA / ARIN-ARIN
Our journey begins in the Basque country of Northeastern Spain with the sounds of the Txalaparta. These wonderfully ancient instruments, actually large wooden planks, have been laid out on baskets and maize leaves and played with sticks. The rhythm was originally intended to recreate the sound of horses on the move.
The Basque country, along with Galicia and Catalonia, is one of the three historical nationalities recognized within Spain. The Arku-Dantza is actually part of three dances that celebrate the legendary victory of the people of Durango. The "Arin-Arin'' is a typical free dance piece in which the couples danced separately. It is a beautiful example of the type of tune created for the Trikitixa or box accordion.

3. EL BESU (The Kiss)
The lovely simplicity of this extremely old song speaks of love and youth, Kiss me little girl, with your coral lips. It originates from Asturias, a small principality on Spain's northern coast with spectacular scenery and a deep sense of their Celtic past. Xuacu Amieva sings and plays the rabel over his knees in the ancient fashion. This three-stringed ancestor of the violin has changed very little over time as can be witnessed in the 11th-century stone carvings to be found in the ruins of tiny village chapels along the Pilgrimage route.

4. NÃO VAS AO MAR, TOINO (Don't go to the sea, Toino)
In Roman times the north of Portugal was part of old Galicia. Today they are still linked by a similar language and their Celtic past. This cavaquinho tune originates from a small fishing village on the Atlantic coast

5. DUM PATERFAMILIAS / AD HONOREM
This recording took place late at night in the Convento de San Paio de Antealtares facing the cathedral of Santiago. At midnight, the bells tolled mournfully, wonderful for atmosphere, but they interrupted one of our better takes. We were so lost in the magic of the setting that we did not notices the nuns watching from the shadows of their enclosure. It is said that these Medieval tunes were popular anthems sung by the pilgrims on their journey.

6. Dueling Chanters (Sixpennu Money / Polka de Vilagarcia)
This duet has become a live favorite that we have played around the world. It is wonderful vehicle to display the unique interplay of the Uilleann pipes and the Gaita (Galician bagpipes)

7. Galician Overture (Composed: Paddy Moloney)
What began as a thirty-second introduction piece somehow developed into this eleven-minute overture for orchestra. In the end we had a taste of music from Ireland and all Our Celtic cousins in Brittany, Scotland and Galicia. Olé!

8. Guadalupe. With Linda Rondstadt and Los Lobos
Although Linda and the boys from Los Lobos never had the chance to meet (travel schedules required that we recorded this tune in three different cities), I think they did justice to this joyous duet. While it was still a work-in-progress we fondly referred to the tune as the Mexican Connection. It is typical of the type of song created by Galician immigrants to the new world longing for their homeland.

9. Minho Waltz (Traditional arr.: Matt Molloy)
This unusual tune, probably of Portuguese origin, was discovered by Carlos in an old manuscript in the museum at Pontevedra. It is, I think, a perfect vehicle to display the dazzling virtuosity of our own Matt Molloy. You may note as well, towards the end, a fine flourish of fiddle from Seán Keane.

10. Setting Sail / Muiñeira de Frexido (Composed/traditional; arr.: Paddy Moloney)
Archaeologists date sea connections between Ireland and Galicia at least as far back as the Bronze Age. There is even a legend in the Irish book of conquests Lebor Gàbala (Leabhar Gàbala) that claims Ireland was founded by the son of the Galician Celtic king Breogán. In that spirit we have selected this tune, the first ever The Chieftains ever played with Carlos.

11. Maneo
Althoug the tune is Galician in origin this is one of the most typically Spanish rhythms in the program, accented here by flamenco-like hand clapping as well as the Spanish guitar of Señor Eliot Fisk, a pupil of the great Andrés Segovia.

12. Santiago de Cuba (Composed/traditional; arr.: Paddy Moloney)
With Ry Cooder: mandola

13. Galleguita / Tutankhamen. With Ry Cooder: mandola
There is a long history of Galician immigration to Cuba. Over the years the melodies have mixed with the exotic rhythms and choral styling of Afro-Cuba to create a wondrous blend indeed. When we first arrived in Cuba I had asked for six musicians. More than thirty singers and players eventually showed up. Their spontaneity and joyous sense of friendship and celebration were overwhelming. By the end of the session the studio was filled with dances and laughter that continued long into the night.

14. Tears of Stone
This beautiful love song advises a young girl never to trust a man's promises... some things never change.

15. Dublin in Vigo
A) ALBORADA GALLEGA
B) MIUDIÑO
C) LOLA
D) JACKSON'S MORNING BRUSH
E) MUIÑEIRA DE CABANA
F) MUIÑEIRA DE CHANTADA
One evening after a concert in Vigo we finished up at a tiny Irish pub named the Dublin. After a few toasts to our Galician hosts things began to get rather lively, and by the time we left, (so the tell me) they were dancing on the tables. Later that year we decided to return to the same pub armed with a mobile recording unit and a roomful of Galicia's finest dancers and musicians. The room was packed to the rafters and out into the streets. What followed wast faithfully recorded live by our engineer, who hast to perch himself and his microphones rather precariously from the very same rafters.








All traditional melodies arranged by Paddy Maloney except where indicated.

PRODUCED BY PADDY MOLONEY

Mixed by JEFFERY LESSER

All tracks mixed at CLINTON STUIDOS, New York.
Mastered at MASTERDISK, NYC, by Greg Calbi.

PHOTOGRAPHY & ART DIRECTION: James O'Mara & Ryan
ADDITIONAL RESEARCH & ASSISTANCE: Fernando Conde & Stephen Macklam

Very special thanks to Carlos Núñez and Fernando Conde
for invaluable research, assistance, patience and friendship.

BMG Classics
© Ⓟ 1996 BMG Music


TRACK 1, 2, 3, 4: Recorded at Elkar Studios, San Sebastián, Spain;
Engineered by Brian Masterson, assisted by Ciaran Cahill.

TRACK 5: Recorded remote at Convento de San Paio Antealtares, Santiago de Compostela, Spain;
Engineered by Brian Masterson, assisted by Ciaran Cahill.

TRACK 6, 9, 14: Recorded at Windmill Lane Studios, Dublin, Ireland;
Engineered by Bill Sommerville Large, assisted by Ciaran Cahill.

TRACK 7 & 10: Recorded remote at Auditorio de Galicia, Santiago de Compostela, Spain;
& Windmill Lane Studios, Dublin, Ireland; Engineered by Brian Masterson, assisted by Ciaran Cahill.

TRACK 8: Recorded at Schnee Studios, Los Angeles, CA; Engineered by Robert Loftus Jr.
& Russian Hill Studios, San Francisco, CA; Engineered by Jeffery Lesser, assisted by Bob Conlon.

TRACK 11: Recorded at DoubleWTronics Studios, Madrid, Spain;
Engineered by Jesús N. Gómez, assisted bu Fernando Álvarez;
& Westland Studios, Dublin, Ireland; Engineered by Bill Sommerville Large, assisted by Ed Keneham.

TRACK 12 & 13: Recorded at Estudio Egrem, Havana, Cuba;
Engineered by Matt Kemp, assisted by Zexia Torres.

TRACK 15: Recorded remote at the Dublin Pub, Vigo, Spain;
Engineered by Brian Masterson, assisted by Ciaran Cahill.







sonusantiqva.org

The Web SonusAntiqva
inicio home