After
Alan Stivell's "Rebirth of the Celtic Harp," we can speak, many years
later, of another "return": the one Soïg Siberil and
Jean-Félix Lalanne created in 2019. But this isn't about the
harp, but about the guitar—two guitars, to be precise, which
have developed a strong symbiotic bond over the years.
This
isn't the first collaboration between these two artists, as they had
already worked together in 2010 on the project "Autour de la guitare
celtique." The
concept of "return" is highly significant here, as Soïg and
Jean-Félix reinvent new techniques and give new meaning to
the role of the guitar within so-called "Celtic" music.
Patrice
Marzin also contributes, recording and mixing the piece, as well as
numerous innovative arrangements. The
CD also includes guitar tablature and features photographs by Eric
Legret, all within a graphic design by Sylvain Adamik.
“Back
to Vigo” is a composition dedicated to Galicia and the city
of Vigo in particular. Jean-Félix
uses a synth-guitar with a MIDI output: in fact, it’s more of
a keyboard than a guitar because the output produces a synthesized
sound. Patrice
Marzin’s programming then intervenes on the rhythm, making
the piece highly evocative and innovative. “Prince
Charlie” is a traditional Scottish theme rich in baroque
veins, arranged by Soïg based on the interpretation of Ian
Melrose, a musician with whom he has previously collaborated on the
“Celtic Guitar Journeys” project.
The
second piece, “The Seal and the Seagull,” is an
adaptation of the Scottish traditional “The Ant and the
Grasshopper.” This
is followed by Jean-Félix's medley "Mon Paradis," which
focuses on the artist's time in France, and "Malahide Suite," arranged
by Soïg using the "tapping" technique, which involves striking
the strings with the right hand to achieve a surprising rhythmic effect.
The
album's fourth piece is another medley, opening with
"Derrière l'horizon," a composition Jean-Félix
dedicates to the sunset on the beaches of Malahide, a town in the
county of Fingal. This is followed by a traditional piece, arranged by
Soïg, with Jean-Félix's synth guitar making a
wonderful entrance, enriching the piece with bluesy nuances.
"Un
tour à Tourrettes" is a composition by Jean-Félix
dedicated to a place considered ideal to live: the village of
Tourrettes-sur-Loup; the
concluding harmonic passage is enchanting. “Selena’s
Dream” is another composition by Jean-Félix,
structured in three movements and dedicated to his now-adult
granddaughter. This
brings us to two Irish reels arranged by the two musicians, the first
of which is slower-paced and almost baroque in style:
Jean-Félix abandons his Martin guitar here for a Takamine.
The
eighth composition on the album also features two Irish reels, usually
performed on violin; in
this case, however, the guitar transcription is surprising to say the
least. Next
comes “Le Mascaret,” a composition by Soïg
whose rhythmic delay, combined with the synth guitar and percussion
programmed by Marzin, make the piece truly admirable.
“Calou’s
Dance” is a highly inspired and technically elegant
composition by Jean-Félix, dedicated to his partner Caroline.
This
is followed by a medley arranged by both guitarists, introduced by a
melody from the Vannes region and consisting of two Laridés,
that is, two linked dances in six counts. This
is followed by two interconnected compositions: the first is "Insomnia"
by Jean-Félix, followed by two "Ronde" de Loudeac, the last
of which is enriched by the rhythmic effects of percussion programmed
by Patrice Marzin. The
album concludes with another medley: first, a well-known Scottish march
by Duncan Johnstone, already performed by various groups, followed by
"Lokarn" by Soïg. Here
Jean-Félix dusts off his Takamine.
The
conclusion is entrusted to a very entertaining piece, with
Jean-Félix on the electrified ukulele and Soïg
performing Hawaiian tapping.
After "La renaissance de la harpe celtique" by Alan Stivell, on peut
talker, after nine years, of another "retour": what Soïg
Siberil and Jean-Félix Lalanne did in 2019. Never mind the
harpe more than one guitar, two guitars for être
précis, qui ont findé un symbiotique lien strong
au fil des ans. In
fact, we never saw the presence of the first collaboration between two
artists, starting in 2010, the ensemble was already working on the
project "Autor de la guitare celtique". The
concept of "retour" is very significant with Soïg and
Jean-Félix reinventing new techniques and giving a new sense
to the role of the guitar in the music called "Celtic". And also the
master Patrice Marzin, author of the recording, of the mix, also of
famous and innovative arrangements. The CD also includes a guitar
tablature and uses the photographs of Eric Legret in the cadre of a
graphic concept conceived by Sylvain Adamik. "Back to Vigo" is a
composition dedicated to Galice and the city of Vigo in particular.
Jean-Félix uses a guitar synthesizer with MIDI output: but there
is also a clavier which produces a synthesized sound. Patrice Marzin's
programming intervenes on the rhythm to make the music more suggestive
and innovative. "Prince Charlie" is a very rich tradition in baroque
veins, arranged by Soïg based on the interpretation of Ian
Melrose, musician who previously collaborated on the project "Celtic
guitar voyages"; following "The Seagull And The Seal", adaptation du
traditionnel écossais "La cigale et la fourmi" ("The Ant and the
Grasshopper"). Suitable for Jean-Félix's medley "Mon Paradis",
related to the period corresponding to the artist's previous work in
France, and "Malahide suite", arranged by Soïg with the "tapping"
technique consisting of hitting the strings with the main right to
obtain a surprising rhythmic effect. The fourth song of the album is
another medley which begins with "Derrière l'horizon", a
composition that Jean-Félix gave to the sun on the beaches of
Malahide, a town near Fingal, following "The Hill Of Glenorchie" a
traditional song, arranged by Soïg with the guitar-synth of
Jean-Félix here comes to marvel to enrich the tone of blues
nuances. "A tour à Tourrettes" is a composition by
Jean-Félix given in a place considered ideal for living: the
village of Tourrettes-sur-Loup; Here, the final harmonies are truly
charming.
"Selena's Dream" is also a composition by Jean-Félix, structured
in three movements and intended for no adult.
Ensuite, we find two Irish reels arranged by the two musicians : the
premier is more doux in rhythm and presque baroque: ici, Jean-Felix
laisse sa guitare Martin pour jouer sur une Takamine. The
huitième morceau also includes two Irish reels here, of course,
are played on the violon; In this case, the transcription for the
guitars is astonishing for the moments. Here we find "Le Mascaret",
composition by Soïg without the « delay » rhythm, even
though the guitar-synt and the percussions programmed by Marzin, make
the music truly admirable. "Calou's dance" is a highly inspired and
technically elegant composition by Jean-Félix, dedicated to his
companion Caroline. Suit a medley arranged by the two guitarists,
introduit by a vannetaise tune and composed by two Laridé, soit
two dancers in chain in six tempos. Here are two compositions listed
above: the premiere is "Insomnia" by Jean-Félix following the
two "Ronds" by Loudéac, which is enriched by the rhythmic
effects of the percussions programmed by Patrice Marzin. Our directions
towards the conclusion of the album with another medley: tout d'abord
une marche écossaise de Duncan Johnstone, bien connue et souvent
jouée par de nombreux groups, suivie de "Lokarn" de Soïg.
Here, Jean-Félix uses Takamine.
The conclusion is a very amusing song: Jean-Félix plays the
electric ukulele to match the effect of Hawaiian tapping.
