Dulcimerhead: Western Voyage, Eastern Shore

Arathusa Records, 2009

By Alison Brownlee

Written and produced for the 2009 Wainfleet Viking Market and Summer Solstice Celebration, Western Voyage, Eastern Shore was created to represent the Norse experience in the 11th century, and it doesn’t disappoint.

Although the instrumentation is minimal – mountain dulcimer, vocals, percussion and the occasional bird chirp – the mood and tone of the 12 pieces create a vivid mental image of the Norse during their time of global exploration.

In an interview, dulcimer player David Rankine said, “There’s no way of knowing what Norse music sounded like one thousand years ago,” but Dulcimerhead’s interpretation, which was developed through a group effort by Rankine, percussionist Fernando Villalobos and vocalist Daniela Godina, encapsulates the lived experience of the Norse by incorporating the musical traditions of the peoples with which Viking explorers came into contact.

For example, Cultivate sounds slightly Persian because of the minor mode, the pitch progressions on the dulcimer and the lyrical movement of Godina’s vocals. The song is a perfect example of the group’s emphasis on cultural integration, because it’s believably Norse, yet Middle Eastern at the same time.

Moving further east, Revelation has Godina switch to a more chant-poet vocal style with meditative chimes in the background. While these aspects invoke the Far East, the dulcimer sounds almost lute-like, giving the piece a Celtic Britain tone as well.

Although Dulcimerhead is described as a psychedelic progressive rock band, what makes it unique is the mountain dulcimer, which is an extremely versatile instrument. Rankine is able to use it to its full advantage on tunes like Sunstone, which is an instrumental piece by Rankine and Villalobos. The tune has a faster tempo, and an expertly used jambé that gives a tribal feel to the music.  The versatility of the dulcimer takes the foreground, though, through the use of harmonics and drones, while layering the melodic and accompanying lines to create a depth of sound. Near the end of the piece electronics are incorporated to highlight the psychedelic aspect – the sound is faintly reminiscent of Jim Morrison and The Doors.

The two best songs on the album, however, were saved for last. Solstice Dance is an obvious nod to the occasion for which the album was produced, but it’s an energetic, Celtic-inspired instrumental piece in 2/4 time that starts toes tapping the moment the percussion comes in. The hand drumming gives a rustic feel while the simple major mode melody invokes people dancing around the Summer Solstice bonfire with vine wreaths on their heads. It certainly pulls listeners into the celebration.

To close off the album, Godina is welcomed back to sing Cup of Plenty. It’s a great song to end with because it has a quick, almost hurried tempo and frantic strumming on the dulcimer, which eventually slows to give the piece texture. Godina’s midrange vocals are somewhere between chant and lyrical, summarizing her range on the album wonderfully. It’s a simply song, but probably the catchiest – the lyrics “Ideas flow from the cup of plenty” will be stuck in one’s head hours after the song is over because of the phrase’s melodic beauty.

Overall, Dulcimerhead’s fourth album is fantastic. Its pieces vary in tempo, mode, key, style, regional influence, lyrical content and percussive technique, all of which keeps the listener interested. Most impressive, though, is how pieces like Sunstone and At the Edge can showcase the intricacies of the mountain dulcimer – the instrument isn’t exhibited as a one-trick pony relied on as a novelty. Instead, it’s very much used to its full advantage to enhance the sound and concept of the album, which is the voyage and cultural exchange experienced by the Norse people the world over.

Dulcimerhead hit its theme very well and Western Voyage, Eastern Shore is definitely worth investing 47 minutes in, if not for the fantastic musicianship and artistry, then at least for the lesson in anthropological history.

Posted September 17th, 2009 in General, Profiles

Artist Paints to Poetry

Artist Dolores Greco reaches into her box of paints like a magician going into his box of tricks, and randomly chooses four or five tubes. She squeezes ribbons of glorious colour on to her palette then dabs her paintbrush into chartreuse, and strikes the canvas with her first mark. Within minutes I realize that her work truly is magic.

Dolores paints from a place of honesty not from pretentiousness. Expectations from friends, family, society and the art world have dissipated and through years of exfoliation she has finally allowed herself the freedom to follow her own direction, to be true to herself so that a bright honest light has given her a sense of spiritual and emotional liberation to her work. “As an artist you must persevere, and never judge yourself. Artists are bombarded with the artists before them and even though learning techniques are important, one must struggle and evolve, constantly stoking that freedom fire. Responding from your soul is where the enlightenment comes from, not from your mind.”

She now has no need to ‘find’ a subject matter; instead she paints to a reaction, something from the news, a smile from a stranger, a story or a memory. After years of stepping stones from college, motherhood, helping create a successful family owned business to retirement, she knows she is on the right path. “Personal marks are made up of your own history as a human being and I have a chest full of history to draw from.”

Her breakthrough came in 2003 with her painting “Road from Carnarvon” which sold to the first person on sight. This was a reaction painting and a breakthrough for her. “We have a group of close friends that get together in Halliburton each October to stretch our creative spirits and share in close friendship. That year we walked through a wooded area near falls that thundered in our ears, we kicked at wet leaves, took pictures of tree mushrooms and moss, and of our group jutting out from rocks and tree roots creating a bond that only women can create” she recalls. We spent time in an old church slurping back hot tea in flowered china cups and ate current scones thick with butter, homemade strawberry jam and cream, talking and laughing about everything and nothing. Honouring all the simple things,” she smiles.

Her response to that bonding came through the canvas in warm, exciting and passionate cadmium orange, carmine, yellow ochre, sap green and lemon yellow. “It sold,” she says “because it evoked emotion from an art appreciator and isn’t that really want we want? It’s the act of expression which is a very important message of truthful insight as the artist feels it.”

Dolores Greco will be responding to Poet Allan Briesmaster’s work, and his delivery of the words. “It’s not always about what is being said, but also what is unsaid. I will be looking for the pauses, the silence.” Dolores will be responding by using water media and paper and which she will use in a later collage work. She will be donating an acrylic painting to the Words Alive Literary Festival first prize “On The Spot Poetry” winner.

You can have a look at her website www.doloresgreco.com

Posted September 14th, 2008 in Profiles

Sommerset, Oh Sweet Sommerset

They call themselves Sommerset. Each song they play has been culled from Celtic songbooks, numerous countries or a mix of both. This Aurora based group has been together for five years and their music is not to be confused with the typical Celtic folk, but more mixed and melodious which is what makes them so distinct.  In an old warehouse filled with bits of wood, gigantic metal machinery, tools, and decorated with Christmas lights, patched carpet, and antique chairs, Sommerset pumps out sounds that would stop a raging bull on the spot and perhaps raise a hoof or two.

Their music moves from the more contemplative and dreamlike to the rousing and commanding, transporting listeners to another time and place with the dulcimer, flute, violin and guitar. The group of three members combine a mix of rhythms that evoke a variety of emotions playing from events and actions; war, poverty, slavery, freedom and love.

Ian Coombes has been a resident of Aurora since 1958 when there was a population of 3000. He began his career with the guitar at the age of 17 playing in small Coffee Houses like Fat Alberts, as well as bluegrass and folk festivals, and dreamed of one day forming a group that could play a combination of traditional and modern acoustic music. “ In the 70’s there was no support for young musicians who played the Hammered Dulcimer, a trapezoidal zither with metal strings that are struck with light hammers. “Now we thankfully have the Southern Ontario Dulcimer Association that lends support and finds local musicians to play at a variety of functions.” His dream finally came true in 2003 when he began a duo which has since progressed to a quartet.

The bearded 53 year old, with sleek fingers and an artistic eye says, “My hands are a gift from my grandfather who was a master woodworker in England.” Not only can he play a half a dozen instruments but Ian lovingly crafts ancient wooden instruments in the bowels of the warehouse producing beautiful pieces that have found their hands into leading musicians and professional players throughout Europe.

Donna Gingras has an ear for music.  “I taught myself the ukulele at the age of eight and when I mastered that, nothing could hold me back,” remembers Donna.  Each instrument that she held took her on a musical journey, including the guitar, autoharp, and piano but it was  the violin that became her true love after practicing on an Italian Amati made in the 1600’s and owned by a good friend of her mother’s who played professionally. Her experiences as a youth in a stringed quartet and orchestra as well as winning the Kawanis Festival playing Tchaikovsky’s Romeo and Juliet also forced her to become stringent in her practicing. She has also played along with the Southern Ontario Dulcimers. It is her violin that sets the mood for each story to unfold and flourish in Sommerset.  Donna shines with songs that can bring the listener to tears or plays numbers with toe-tapping and thigh slapping tunes.  Her signature, long strawberry blond hair flips back and forth as her bow slices into the strings with a dose of high voltage energy coming and going.

“I try to let my passion and emotion come through the violin so ‘she sings’ with a clear voice to the listener,” says Donna who joined the group four years ago hoping to add to the ethereal ambiance of the music.  “This music crosses all time periods.”

So truly inductive of her name, Skye Sweet releases a soothing, wistful sound with her flute, piccolo and whistle. She began playing the flute in high school and studied privately for a number of years.  A friend of hers convinced her to go to The Woods Music and Dance camp, and she’s never looked back. For a number of years she played for Contra Dances in Toronto and Hamilton.  She currently also plays in the Markham Concert Band and with the Unionville Theatre Company which will be putting on a production of Beauty and the Beast this coming year.  “I play as much as I can, it’s the most important part in my life, it is my sanity.  Celtic music is my favourite; it just seems to stir my soul.”

Come and be inspired. Sit back and let the 1000 year old tune of Brian Boru’s March transport you to the rugged cliffs and emerald green land of Ireland.

Sommerset will be playing at the Second Annual Words Alive Literary Festival on Sunday, September 21st, 2008, at the Sharon Temple in Sharon, Ontario.  The event will showcase award winning authors such as Karolyn Smardz Frost, Maureen Jennings, Mary Swan, Kelly Armstrong etc.  For more information check out the schedule.

Posted August 16th, 2008 in Profiles