annathepiper: (Do the Job)

This past Monday I had my annual mammogram.

This afternoon, Dara alerted me that Evergreen had left me a message on our home answering machine asking me to call them. This is not normal procedure when a mammogram goes well. I got through to them after a couple of tries, and was informed by their staffer that their radiologists want me to come in for an ultrasound of my left side.

Doublechecking my January 2013 posts, I am reminded that this is not the first time I’ve had a questionable mammogram. In 2013, they told me they saw teeny calcifications on the left side, and after they did a biopsy, they told me it was fine.

I am nervous now, four years later, to be informed that they want an ultrasound of that same side. So now I am scheduled to go back in for an ultrasound, on Wednesday of next week, and I get to be nervous about this until then.

I will now be doggedly focusing on trying to be the least amount of nervous I can manage, because goddammit, cancer, I do not have time for your shit. I have writing to do. I have tunes to learn. And I have a fiddle to learn how to play better.

Especially because goddammit I am going to Quebec this summer, for Camp Violon Trad, as I’ve been wanting to do for ages now. Dara and I are beginning a plan for her to meet up with me after the camp is done, for Memoire et Racines, which I’ve been wanting to go back to ever since the brief and awesome time we had there in 2012. We’re discussing the possibility of meeting up with Vicka there, even.

And I have a lot riding on this, you guys. Because not only is Violon Trad run by two of my favorite Quebec musicians–André Brunet and Éric Beaudry, along with their colleague Stéphanie Lépine–this is going to be the 10th anniversary of the camp, which is sure to make it extra epic this year.

Pretty much guaranteeing that it will be epic: ALL FOUR MEMBERS OF LE VENT DU NORD WILL BE GUEST TEACHERS.

Which means, Internets, that I’m going to be at a music camp that will contain André Brunet (from whom I have already had the pleasure of a couple of excellent workshops, now), Éric Beaudry (because BOY HOWDY do I want to spend multiple days learning guitar from this man, YES PLEASE), AND Olivier Demers (who, as y’all may recall, I dubbed the Best Fiddle Player Ever).

I am not remotely ready to tackle playing the fiddle in a full-bore week-long camp like Violon Trad–I’ll be going for the guitar classes, mostly. But I will also be bringing at least some flutes. And now that I actually do own the fiddle I’ve been renting (I bought it because woo! promotion and bonus!), along with a bow that doesn’t suck, I will ALSO be taking that fiddle to try to at least learn SOMETHING.

Because why yes an opportunity to learn tunes from Olivier Demers will make up for how I haven’t seen Le Vent perform in over a year, and I haven’t seen them perform with Olivier for over two years.

I AM DOING THIS AND NO OTHER OUTCOME IS ACCEPTABLE.

Han says NO.

Han says NO.

TAKE THAT, questionable mammogram results. >:|

Mirrored from angelahighland.com.

annathepiper: (Alan and Sean Ordinary Day)

My third visit to St. James Hall, a.k.a. the Rogue, proved every bit as delightful as expected and as they always do, De Temps Antan put on a lively and spirited show.

A satisfyingly large posse of my local AND online Quebecois trad fandom friends were on hand: in addition to myself and Dara, Dejah and Michelle from the Seattle crowd came up for the show. Ginny and Gary from Coquitlam were on hand, as well as Carol all the way from Iowa! And this time I brought Geri along so that she could see De Temps Antan in action, since she had not before. We all claimed a table close to the front of the room, since Ginny and Gary had ever so helpfully reserved it. There was singing! There was podorythmie! And there may possibly have been mammoth jigs on Dara’s head while the band was playing “Valse St-Sévère”.

Full deets behind the fold!

Read the rest of this entry »

Mirrored from angelahighland.com.

annathepiper: (Music All Around You)

When you go to Canada for two consecutive weekends, Internets, you tend to get behind on posting stuff to your blog. Which means for you that I got delayed posting my writeup of the MOST excellent concert by De Temps Antan at the Rogue. But I’m home again, and posting again, so here you go!

Previously in our adventures with Festival du Bois 2014, yours truly got to chat with both Éric Beaudry AND André Brunet after the close of official festival events on Saturday night! And y’all may recall that SOMEBODY got a little creative with how he did his signature on the inside of my copy of Ce monde ici-bas!

So what happened? Full concert blow-by-blow behind the fold!

Read the rest of this entry »

Mirrored from angelahighland.com.

annathepiper: (Music All Around You)

My belovedest Dara and I have done the trip up to Vancouver quite a few times at this point–but still, it’s a bit rough getting up at stupid-o’clock in the morning in time to get on an early bus, go all the way down to King Street Station, and get on a train to go all the way up to Vancouver. There was quite a bit of yawning involved.

But then, with Festival du Bois waiting on the other end, I was quite willing to spend my Saturday morning snoozing on a train!

As always, our friends Geri and Rob kindly put us up for the weekend at their place. This time around, we brought Rob a bottle of Scotch by way of a “thank you for letting us snooze here!” gift. (That, and I’m sure their dog was happy to have two extra pairs of hands to throw the ball down the stairs.) And, this time around, Geri elected to come to the festival shenanigans with us on Saturday!

My only regret? Realizing only after we were on our way north that I’d totally forgotten to bring Jean-Claude. AUGH. For the best, though, since the weather was wet and cold and let me tell you, Internets, there’s nothing quite as pungent as the smell of wet mammoth.

(Full deets and pics behind the fold!)

Read the rest of this entry »

Mirrored from angelahighland.com.

annathepiper: (Musical Jack)
Ici on fête

Ici on fête

I owe a large debt of gratitude to my friend Melanie in Montréal for alerting me to the gem that is Ici on fête, a recently released live compilation album featuring a broad swath of bands and artists in the Quebecois trad genre. This thing features not one, not two, but FIVE of my top favorite Quebec bands, all of whom I’ve posted about in glowing terms as you all know. La Bottine Souriante! De Temps Antan! Le Vent du Nord! Genticorum! And Les Charbonniers de l’Enfer!

It’s pretty much only lacking Galant tu perds ton temps to be a stunningly accurate summuary of my entire collection, really. And while I must sadface at the lack of that fine group, there is much consolation to be found in several other familiar names out of my collection here–Les Batinses, Mes Aïeux, Nicolas Pellerin, Yves Lambert & Le Bébert Orchestra, Les Chauffeurs à Pieds, and Michel Faubert.

Melanie pointed me at this communique about the album, from which I learn that the redoubtable M. Faubert (whose voice I came to know as part of the Charbonniers) is a driving force behind the collection. He in particular is represented on three of the tracks, and he’s in excellent voice in all three, setting the bar very high for everyone else’s performances–and, happily, every other artist on the album meets and matches him.

Tracks 2 and 3 all by themselves make this collection worth the price of admission for me. Y’all already know I’m a De Temps Antan fangirl, and hearing them whip through a live take of “Buvons mes chers amis buvons” is always fun. But what really blew my socks straight off is La Bottine Souriante’s track 3, “Le p’tit porte-clé”–which I immediately recognized as the song I know as “Le ziguezon”, a very early footstomper from La Bottine’s first couple of albums, recorded with André Marchand singing lead. “Le ziguezon” is one of my regular repeat favorites, and to hear it sung by Éric Beaudry here, doing it fine lively justice, made me want to start stepdancing through the streets of downtown Seattle.

Of course I cannot talk about my favorite tracks without talking about Le Vent du Nord. They’re here too, checking with a very strong take of “La fille et les dragons”. This is a song I’ve experienced as its studio take as well as on both of Le Vent’s live albums–but not with a drum track, which was a startling and fun addition, though I wouldn’t want to make a habit of that. (The drum track, after all, rather drowned out the laser precision of the feet of Olivier Demers. And we can’t have that, now can we?)

Genticorum also represents, with a take of one of their earlier instrumentals, “Cascou”, from their album Malins Plaisirs. The only lament I have about this performance is that Alexandre de Grosbois-Garand is not playing his flute on this set. But since he is cutting loose on the bass, that lament is actually fairly small. I’ve seen and heard that bass with my own eyes and ears, people. Five-stringed fretless basses are love.

And then there’s Les Charbonniers de l’Enfer, who offer up what to my ears is a treat indeed: a song of theirs that I do not, in fact, have represented on any prior album of theirs I own! The song is called “Tout l’monde est malheureux”, and it flips back and forth between morose and full harmonic speed. My ear for a song is tugging at this, convinced I’ve heard it before at some point, but I don’t currently have anything else by the same title–so if some other band I’ve purchased music from has recorded this, they did it under a different title. Clearly I’m just going to have to listen to my entire collection again until I find it. Oh darn.

“Souliers rouges” was another song I immediately recognized, though here it’s performed by Manigance, and I’m familiar with the version by La Volée d’Castors. Still, I find it great fun to hear different artists’ interpretation of the same song (the aforementioned “Le ziguezon” is a great example of this, given that I’ve got a version of that by Mauvais Sort in my collection too!). This time was no exception.

Les Tireux d’Roches, as if to console me for the lack of Genticorum’s flute firepower, handed me some of their own and filled my ears with glee. And harmony, for that matter. Very much liked their take of “Maluré soldat”. I’ve got a bit of this group represented in my collection now, but I didn’t have this song yet, which is one on of their albums I have not yet acquired. I shall be rectifying this problem at my earliest opportunity.

I was quite pleased, too, to see women take the lead on the singing at least on a couple of the tracks, so I’ll call them out both by name here: Mara Tremblay on “La chanson du bavard”, and Angèle Arsenault on “J’ai un bouton sur le bout de la langue”. This wasn’t quite enough consolation to make up for the lack of Galant tu perds ton temps, but it did help!

All in all the album is upbeat in spirit, which is befitting a release targeted for the holiday season (c.f., the communique I linked to above). While the material here isn’t specifically holiday-themed, it is nonetheless quite festive–one of the things that made me fall in love with this entire genre of music to begin with.

So if you’re looking to get into Quebecois trad, Ici on fête would be an excellent place to start. Investigation leads me to find it only available to a limited degree–it’s on iTunes, but only on the Canada store, here. And if you want to order the album from Amazon, I’d strongly advise hitting Amazon.ca in particular, since the Amazon.com site has it at import prices. You’ll get it much more cheaply from Amazon.ca, here. (Note the slow delivery time. But also note that Amazon.com right now isn’t showing the album in stock at all.)

Quebec listeners can get it from Archambault digitally here as well as on CD. Renaud-Bray is also carrying the disc here.

Outside of Quebec though, your easiest bet will be to try to scarf an iTunes gift card for the Canada store and buy it that way. It’ll be a hard hunt, but if you can find it, your ears will be rewarded.

Mirrored from angelahighland.com.

annathepiper: (Musical Jack)
Ici on fête

Ici on fête

I owe a large debt of gratitude to my friend Melanie in Montréal for alerting me to the gem that is Ici on fête, a recently released live compilation album featuring a broad swath of bands and artists in the Quebecois trad genre. This thing features not one, not two, but FIVE of my top favorite Quebec bands, all of whom I’ve posted about in glowing terms as you all know. La Bottine Souriante! De Temps Antan! Le Vent du Nord! Genticorum! And Les Charbonniers de l’Enfer!

It’s pretty much only lacking Galant tu perds ton temps to be a stunningly accurate summuary of my entire collection, really. And while I must sadface at the lack of that fine group, there is much consolation to be found in several other familiar names out of my collection here–Les Batinses, Mes Aïeux, Nicolas Pellerin, Yves Lambert & Le Bébert Orchestra, Les Chauffeurs à Pieds, and Michel Faubert.

Melanie pointed me at this communique about the album, from which I learn that the redoubtable M. Faubert (whose voice I came to know as part of the Charbonniers) is a driving force behind the collection. He in particular is represented on three of the tracks, and he’s in excellent voice in all three, setting the bar very high for everyone else’s performances–and, happily, every other artist on the album meets and matches him.

Tracks 2 and 3 all by themselves make this collection worth the price of admission for me. Y’all already know I’m a De Temps Antan fangirl, and hearing them whip through a live take of “Buvons mes chers amis buvons” is always fun. But what really blew my socks straight off is La Bottine Souriante’s track 3, “Le p’tit porte-clé”–which I immediately recognized as the song I know as “Le ziguezon”, a very early footstomper from La Bottine’s first couple of albums, recorded with André Marchand singing lead. “Le ziguezon” is one of my regular repeat favorites, and to hear it sung by Éric Beaudry here, doing it fine lively justice, made me want to start stepdancing through the streets of downtown Seattle.

Of course I cannot talk about my favorite tracks without talking about Le Vent du Nord. They’re here too, checking with a very strong take of “La fille et les dragons”. This is a song I’ve experienced as its studio take as well as on both of Le Vent’s live albums–but not with a drum track, which was a startling and fun addition, though I wouldn’t want to make a habit of that. (The drum track, after all, rather drowned out the laser precision of the feet of Olivier Demers. And we can’t have that, now can we?)

Genticorum also represents, with a take of one of their earlier instrumentals, “Cascou”, from their album Malins Plaisirs. The only lament I have about this performance is that Alexandre de Grosbois-Garand is not playing his flute on this set. But since he is cutting loose on the bass, that lament is actually fairly small. I’ve seen and heard that bass with my own eyes and ears, people. Five-stringed fretless basses are love.

And then there’s Les Charbonniers de l’Enfer, who offer up what to my ears is a treat indeed: a song of theirs that I do not, in fact, have represented on any prior album of theirs I own! The song is called “Tout l’monde est malheureux”, and it flips back and forth between morose and full harmonic speed. My ear for a song is tugging at this, convinced I’ve heard it before at some point, but I don’t currently have anything else by the same title–so if some other band I’ve purchased music from has recorded this, they did it under a different title. Clearly I’m just going to have to listen to my entire collection again until I find it. Oh darn.

“Souliers rouges” was another song I immediately recognized, though here it’s performed by Manigance, and I’m familiar with the version by La Volée d’Castors. Still, I find it great fun to hear different artists’ interpretation of the same song (the aforementioned “Le ziguezon” is a great example of this, given that I’ve got a version of that by Mauvais Sort in my collection too!). This time was no exception.

Les Tireux d’Roches, as if to console me for the lack of Genticorum’s flute firepower, handed me some of their own and filled my ears with glee. And harmony, for that matter. Very much liked their take of “Maluré soldat”. I’ve got a bit of this group represented in my collection now, but I didn’t have this song yet, which is one on of their albums I have not yet acquired. I shall be rectifying this problem at my earliest opportunity.

I was quite pleased, too, to see women take the lead on the singing at least on a couple of the tracks, so I’ll call them out both by name here: Mara Tremblay on “La chanson du bavard”, and Angèle Arsenault on “J’ai un bouton sur le bout de la langue”. This wasn’t quite enough consolation to make up for the lack of Galant tu perds ton temps, but it did help!

All in all the album is upbeat in spirit, which is befitting a release targeted for the holiday season (c.f., the communique I linked to above). While the material here isn’t specifically holiday-themed, it is nonetheless quite festive–one of the things that made me fall in love with this entire genre of music to begin with.

So if you’re looking to get into Quebecois trad, Ici on fête would be an excellent place to start. Investigation leads me to find it only available to a limited degree–it’s on iTunes, but only on the Canada store, here. And if you want to order the album from Amazon, I’d strongly advise hitting Amazon.ca in particular, since the Amazon.com site has it at import prices. You’ll get it much more cheaply from Amazon.ca, here. (Note the slow delivery time. But also note that Amazon.com right now isn’t showing the album in stock at all.)

Quebec listeners can get it from Archambault digitally here as well as on CD. Renaud-Bray is also carrying the disc here.

Outside of Quebec though, your easiest bet will be to try to scarf an iTunes gift card for the Canada store and buy it that way. It’ll be a hard hunt, but if you can find it, your ears will be rewarded.

Mirrored from angelahighland.com.

annathepiper: (Music All Around You)

I’ve posted before, O Internets, about how my rampaging love for Quebec trad can be traced straight back to La Bottine Souriante when I saw them perform at the same show where I first saw Great Big Sea. (Little did I know at the time that that concert at Chateau Ste. Michelle was going to be the birthplace of two of my three biggest lifetime musical fandoms!) I have not, however, had the good fortune to see La Bottine in concert since, and I’d really like to see them with their current lineup.

But I ain’t expecting that to happen any time soon unless they show up in Vancouver. Because transporting a band that big is, I’m sure, logistically challenging even without asking them to cross the US border. (Bah.)

BUT! Even if I can’t see them in person, the Internets have now consoled me with the surfacing of a great video of an entire show they did on their recent tour to Mexico. Behold! (And for all the non-Francophones reading this, note that the band members do introduce the songs in English; there’s only a little bit of Spanish attempted at the beginning.)

And I gotta say, after watching this, I am convinced that Éric Beaudry has access to the same shoe-based arc reactor technology that powers the feet of Olivier Demers. ‘Cause I mean damn, people, when your feet are the entire percussion section for a band as big as La Bottine, you have some mighty rhythmic feet. (+10 as well for Éric’s intro to the second song he sings lead on! Of which he has two, and they are both awesome. Dude can sing. But I’ve said that before, too.)

Go! Clickie! And be careful if you’re listening to this by a desktop computer. You may find yourself in danger of foot-tapping all over your power supply. Well, for values of ‘you’ meaning ‘me’. ;)

Mirrored from angelahighland.com.

annathepiper: (Music All Around You)

I’ve posted before, O Internets, about how my rampaging love for Quebec trad can be traced straight back to La Bottine Souriante when I saw them perform at the same show where I first saw Great Big Sea. (Little did I know at the time that that concert at Chateau Ste. Michelle was going to be the birthplace of two of my three biggest lifetime musical fandoms!) I have not, however, had the good fortune to see La Bottine in concert since, and I’d really like to see them with their current lineup.

But I ain’t expecting that to happen any time soon unless they show up in Vancouver. Because transporting a band that big is, I’m sure, logistically challenging even without asking them to cross the US border. (Bah.)

BUT! Even if I can’t see them in person, the Internets have now consoled me with the surfacing of a great video of an entire show they did on their recent tour to Mexico. Behold! (And for all the non-Francophones reading this, note that the band members do introduce the songs in English; there’s only a little bit of Spanish attempted at the beginning.)

And I gotta say, after watching this, I am convinced that Éric Beaudry has access to the same shoe-based arc reactor technology that powers the feet of Olivier Demers. ‘Cause I mean damn, people, when your feet are the entire percussion section for a band as big as La Bottine, you have some mighty rhythmic feet. (+10 as well for Éric’s intro to the second song he sings lead on! Of which he has two, and they are both awesome. Dude can sing. But I’ve said that before, too.)

Go! Clickie! And be careful if you’re listening to this by a desktop computer. You may find yourself in danger of foot-tapping all over your power supply. Well, for values of ‘you’ meaning ‘me’. ;)

Mirrored from angelahighland.com.

annathepiper: (Loving You Guitar)

I’ve been spending quite a bit of my musical time on tunes from the Quebecois repertoire, but every so often I get to remind myself that actually, y’know? I also play guitar. Especially when I hear a song like the delicious “Au rang d’aimer” by La Bottine Souriante, which I’ve been swooning over for ages. It’s pulled hard into the lead to become the first song from Quebec that I’ve been able to figure out how to play and sing at the same time, properly!

I used the Chord Detector app I’ve got on my iPhone to get an initial idea of the chords. Now, the app ain’t perfect, and I find that when I throw a song at it, it’s usually good for giving me the general ballpark–the right key and several of the right base chords. But then I need to go in and finesse it and figure out things like strum patterns, and where to plug in chords that might be missing.

This song’s delightful to play with, just because it requires a more delicate strum pattern than I’m used to playing. (‘Cause hi, right, I’m the girl used to playing the sorts of chords that are better fitting to boinging around the living room, playing along with the Great Big DVD and belting out “Mari Mac” at the top of your lungs, NOT THAT I DO THAT OR ANYTHING!) Don’t quote me on the key, but I think we’re dealing with D mix here. There’s a lot of F, D, Em, and G, with periodic loverly little bits of Em7 and C. And I THINK there’s an Am that pops in as a transition chord between D and Em on the third line of the verses, but I’m not a hundred percent sure of that.

Note also, if you play with these chords, the first and fifth verses start with D->G->D->G, but the rest of them go F->Em->D->G, as near as I can tell. Because the first and fifth ones are coming after the intro and bridge, and starting them with D instead of F makes the chord flow work better.

I’ve got the overall strum pattern down, though, I think! And I’ve even managed to memorize the words, and for the most part I even know what they mean–though there’s a line in the fourth verse that goes “C’était un soir un facsillant, en courtisant sa mise”, and for the life of me I haven’t been able to figure out what the hell “facsillant” means. My google fu fails me. So did asking the La Bottine Souriante Facebook group I’m on, though one nice person from Quebec says she thinks it’s maybe an Old French word. Which would explain why Google Translate has no earthly idea what it means, and why I can’t find it in any of my usual online dictionary sources, either.

(Any French speakers out there who recognize this word, you want to clue me in, I’d be much obliged! I have even taken the drastic step of pinging the excellent gentleman who sings it, Éric Beaudry himself, to see if he can enlighten me. Given that I tried that in French, we’ll see if I managed to do so coherently. I make no guarantees. *^_^*;;)

Anyway though, here, lookit! I made a thing! This is a snippet of me playing with the chord progression, on the General, my big guitar (the Taylor 210). If you listen to the actual recording of the song (and you should, because goddamn, it’s pretty), there’s some mandolin in there. So I could make a case to myself for playing this on my little Ti-Jéan instead, but I dunno yet, the General’s deeper voice has a certain nice flavor to it too. Clearly, I shall have to try it on both instruments!

Every so often, I feel like I actually can play guitar. Tonight is one of those nights!

Mirrored from angelahighland.com.

annathepiper: (Loving You Guitar)

I’ve been spending quite a bit of my musical time on tunes from the Quebecois repertoire, but every so often I get to remind myself that actually, y’know? I also play guitar. Especially when I hear a song like the delicious “Au rang d’aimer” by La Bottine Souriante, which I’ve been swooning over for ages. It’s pulled hard into the lead to become the first song from Quebec that I’ve been able to figure out how to play and sing at the same time, properly!

I used the Chord Detector app I’ve got on my iPhone to get an initial idea of the chords. Now, the app ain’t perfect, and I find that when I throw a song at it, it’s usually good for giving me the general ballpark–the right key and several of the right base chords. But then I need to go in and finesse it and figure out things like strum patterns, and where to plug in chords that might be missing.

This song’s delightful to play with, just because it requires a more delicate strum pattern than I’m used to playing. (‘Cause hi, right, I’m the girl used to playing the sorts of chords that are better fitting to boinging around the living room, playing along with the Great Big DVD and belting out “Mari Mac” at the top of your lungs, NOT THAT I DO THAT OR ANYTHING!) Don’t quote me on the key, but I think we’re dealing with D mix here. There’s a lot of F, D, Em, and G, with periodic loverly little bits of Em7 and C. And I THINK there’s an Am that pops in as a transition chord between D and Em on the third line of the verses, but I’m not a hundred percent sure of that.

Note also, if you play with these chords, the first and fifth verses start with D->G->D->G, but the rest of them go F->Em->D->G, as near as I can tell. Because the first and fifth ones are coming after the intro and bridge, and starting them with D instead of F makes the chord flow work better.

I’ve got the overall strum pattern down, though, I think! And I’ve even managed to memorize the words, and for the most part I even know what they mean–though there’s a line in the fourth verse that goes “C’était un soir un facsillant, en courtisant sa mise”, and for the life of me I haven’t been able to figure out what the hell “facsillant” means. My google fu fails me. So did asking the La Bottine Souriante Facebook group I’m on, though one nice person from Quebec says she thinks it’s maybe an Old French word. Which would explain why Google Translate has no earthly idea what it means, and why I can’t find it in any of my usual online dictionary sources, either.

(Any French speakers out there who recognize this word, you want to clue me in, I’d be much obliged! I have even taken the drastic step of pinging the excellent gentleman who sings it, Éric Beaudry himself, to see if he can enlighten me. Given that I tried that in French, we’ll see if I managed to do so coherently. I make no guarantees. *^_^*;;)

Anyway though, here, lookit! I made a thing! This is a snippet of me playing with the chord progression, on the General, my big guitar (the Taylor 210). If you listen to the actual recording of the song (and you should, because goddamn, it’s pretty), there’s some mandolin in there. So I could make a case to myself for playing this on my little Ti-Jéan instead, but I dunno yet, the General’s deeper voice has a certain nice flavor to it too. Clearly, I shall have to try it on both instruments!

Every so often, I feel like I actually can play guitar. Tonight is one of those nights!

Mirrored from angelahighland.com.

annathepiper: (Loving You Guitar)

As I’ve written before, La Bottine Souriante has the distinction of being the first Quebec band I ever saw perform live, and I said a great deal about them on this post over here. Most of what I had to say there still stands, with some notable exceptions.

First and foremost, as of this writing, La Bottine’s discography has become available for digital purchase on both iTunes and Amazon’s MP3 store! So if you’re a US fan of Quebec music like me, your chances of finding a La Bottine album have now improved considerably.

Which of course brings me to the question of what album should you get? The answer to that’s going to depend on what era of La Bottine you want to investigate, since they seem to come in four overall eras to their sound. I tend to break La Bottine down into “Yves Lambert era” and “Eric Beaudry era”, both of which have their massive appeal to me.

Yves’ Lambert’s era is classic La Bottine, and saw the rise of their mighty, mighty horn section. M. Lambert’s era also saw such seriously impressive musicians as André Marchand and Michel Bordeleau being in the lineup. This era is well worth your time, and if you want to sample it, I’d highly recommend La Mistrine as a studio album at the height of the band’s power in that era. Or, En spectacle for a marvelous live performance. Especially the opening “Ouverture” track, which features what’s kind of the canonical La Bottine tune–Sheepskin and Beeswax, one of the ones I’m trying to learn. I LOVE how they fire this one up, with the rumble out of the bass, then layering in the feet and the melody, until at last the horns start punching in with syncopated goddamn glory and oh, it’s wonderful.

The Eric Beaudry era kicked in with the album J’ai jamais tant ri, and at least as of that album, La Bottine also had Pierre-Luc Dupuis singing a lot of the lead, as well as André Brunet’s fiddle firepower and occasional lead singing as well. All three of these boys have gone on to form De Temps Antan, of course–so that particular La Bottine album rather sounds like “De Temps Antan plus a horn section”. This is not a bad thing!

If you want to get an idea of what La Bottine sounded like as of that album, check out this YouTube fan vid. It’s somebody’s almost entire vid of a La Bottine concert, in which you get to see Eric, André, and Pierre-Luc all rocking it the HELL up. There’s a jumbotron. There’s crowdsurfing. It’s AWESOME.

Now, I tend to prefer classic La Bottine over current, but that said, Eric Beaudry IS right up at the top of the list of Quebec musicians for whom I want pretty much every note they ever recorded (he’s fighting it out with Olivier Demers for the top spot on that list!). As I’ve also mentioned before, any band with a Beaudry in it gets my immediate and undivided attention. M. Beaudry’s vocals are splendid, and he is an amazing bouzouki player. In fact, musically speaking, he is my current favorite bouzouki player, and I do not say this lightly–as anyone who knows I’ve been fangirling Alan Doyle for the last 13 years knows! So his contributions to La Bottine are not to be underestimated in the slightest.

So if you go with Beaudry-era La Bottine, get their most recent release, Appellation D’Origine Contrôlée. I have a full review of this album right over here. I am madly, madly I tell you, in love with “Au rang d’aimer”. I’m trying to learn that one on the guitar. And yes, it’s one of the tracks M. Beaudry sings lead on. You may now show me your lack of surprise faces, Internets. ;)

Also, I’ll add that if you want to track what happened to other members of La Bottine who are no longer in the band, the aforementioned Yves Lambert is still doing music, and he’s got excellent albums available here. Michel Bordeleau and André Marchand are both now in Les Charbonniers de l’Enfer, deploying their massive vocal talent, and they’re also doing double duty as two of the members of Les Mononcles, where they’re doing instruments as well as vocals.

Mirrored from angelahighland.com.

annathepiper: (A Star Shines)

In which our heroine and supervillain hike around the lake, in which the mammoth makes a break for it (but is thankfully recovered!), in which the festival suffers an accident (which we do not see), and in which perfectly ridiculous amounts of fun are had seeing De Temps Antan–and then getting pics with them afterwards! With Jean-Claude!

Read the rest of this entry »

Mirrored from angelahighland.com.

annathepiper: (A Star Shines)

In which our heroine and supervillain hike around the lake, in which the mammoth makes a break for it (but is thankfully recovered!), in which the festival suffers an accident (which we do not see), and in which perfectly ridiculous amounts of fun are had seeing De Temps Antan–and then getting pics with them afterwards! With Jean-Claude!

Read the rest of this entry »

Mirrored from angelahighland.com.

annathepiper: (Bouzouki Fandom)

In which our heroine and her supervillain spend their first full day in Harrison on beach exploration, music played and music watched, and lake wading! And in which De Temps Antan rocks the afternoon with sunglasses and a bouzouki that can goddamn roar!

Read the rest of this entry »

Mirrored from angelahighland.com.

annathepiper: (Bouzouki Fandom)

In which our heroine and her supervillain spend their first full day in Harrison on beach exploration, music played and music watched, and lake wading! And in which De Temps Antan rocks the afternoon with sunglasses and a bouzouki that can goddamn roar!

Read the rest of this entry »

Mirrored from angelahighland.com.

annathepiper: (Alan LOL)

In which our heroine and her belovedest supervillain take a leisurely scenic drive to visit our fair neighbors to the north, in which they arrive at the charming B&B which will serve as their Lair for the weekend, in which Jean-Claude Mamut does indeed issue hir blessing upon the proceedings, and in which they encounter Quebecois musicians and try not to fangirl all over them. Much.

Read the rest of this entry »

Mirrored from angelahighland.com.

annathepiper: (Alan LOL)

In which our heroine and her belovedest supervillain take a leisurely scenic drive to visit our fair neighbors to the north, in which they arrive at the charming B&B which will serve as their Lair for the weekend, in which Jean-Claude Mamut does indeed issue hir blessing upon the proceedings, and in which they encounter Quebecois musicians and try not to fangirl all over them. Much.

Read the rest of this entry »

Mirrored from angelahighland.com.

annathepiper: (Music All Around You)

Continuing my quest this year to get to see as many Quebecois bands perform as possible, this week I finally had the pleasure of seeing De Temps Antan perform for the first time! I’ve gushed about these boys in blog and journal posts before, of course–but as always, getting to see a group in live performance is another order of magnitude above experiencing their recorded music, or online videos, or what have you.

I was particularly grateful for this chance to see them since the show was, as far as I know, kind of wedged in at the last minute. They’d been scheduled to do a mid-day performance in Kent, which I was sadly unable to make due to it being right smack in the middle of my workday. But booking fortune was kind and produced a one-set show at the Royal Room, a place I’d never been to, on Rainier Ave South. Dara and I had a bit of an adventure getting down there as miscommunication on my part of the proper address–and Google not being terribly helpful with the directions–caused us to overshoot and go to East Rainier Avenue South, instead.

Pro-tip for those of you who aren’t local: NOT THE SAME STREET.

But! All was well after all because we scooted in just under the wire. When we arrived, the boys of the band were still sound-checking, so we wound up not missing anything at all!

De Temps Antan only have two albums at this point, so it wasn’t terribly surprising that their single set was slanted in favor of stuff that appears on their second album, Les Habits de Papiers. A good many of the songs they performed were tune sets as well, showcasing André Brunet on the fiddle as well as Éric Beaudry’s prowess on guitar and bouzouki, with Pierre-Luc Dupuis chiming in on accordion or harmonica. Notable among the instrumentals was M. Brunet’s breaking out of a new waltz, which was lovely. I do fangirl me some Olivier Demers-brand violin, to be sure, but M. Brunet? Also a very respectable fiddler. Since De Temps are a trio and comparatively sparse on the instrumentation, it falls to each member of the group to pull as much vigor as possible out of his instrument. The result is a crackling energy that makes it very, very easy to forget that they do not, in fact, have more than three guys on the stage!

When it comes to instrumental prowess, though, with these boys I have to throw my affections over to M. Beaudry, and I’m not saying that just because I love me some bouzouki. Now that I’ve seen him do it live, I have all the more respect for what this man can do with a guitar and a zouk. I was particularly struck by his finger work on the guitar, swift, adroit runs that called his guitar’s deep ringing voice out and made it sing. And as for his bouzouki, wow. I’ve swooned before for what he whips out on the zouk in this video. Seeing him doing it live, and hearing that zouk roar in a way I have to date only heard out of my belovedest Dara and her Kohaku (heart), was amazing. Especially given his flying podorythmic feet, which he unleashes along with his hands on the instruments AND his singing. (I have just enough experience trying to sing and play at the same time on a zouk or a guitar, without even trying to throw my feet into the mix, that I admire the hell out of anybody who can pull that off!)

Vocally, all three members of the group are also very strong. M. Dupuis is the dominant vocalist, with a rich, expressive voice that he uses to great effect. I’ve read up some on his stint in La Bottine Souriante, and have seen some references to him having taken over briefly as La Bottine’s lead singer because of his style being a bit of a callback to the redoubtable Yves Lambert. I can buy that. M. Dupuis’s voice hits me in the same way M. Lambert’s always did, full and round. Maybe not as powerful, but that’s okay! I’ve always liked to say that M. Lambert’s voice hit me like 900-calorie cheesecake. M. Dupuis is maybe more like 600 calorie cheesecake. But the long and short of it is, cheesecake is still tasty, and Pierre-Luc can tear his way through a song.

M. Brunet is also a fine singer, though he doesn’t take over lead vocals as much as the other two. He mostly got to shine vocally on “Dominic à Marcel”, a ditty with something of a Southern twang to it–by which I mean, US Southern. The boys in fact referenced Mississippi, introducing this one! It’s a style that works when you throw it together with Quebecois music, to be sure.

Here, though, I also have to throw my affections over to M. Beaudry. He’s not as forthrightly expressive in his vocals as his bandmate, but he’s still got some strength and resonance to his voice, and I love, love, LOVE hearing him whip out “Grand Amuseur de Filles” or “Jeune et Jolie”.

I noted with pleasure that the boys presented us with not one but two new songs, including one M. Dupuis noted would be included on their next album (and yes, mes amis d’Internets, I perked up considerably at the magic words “next album”). One of these was the aforementioned waltz, but the other one was this, captured by Dara on video!

And much to my massive, massive delight, they closed with a one-two-three punch of my three favorite songs of theirs–”Grand Amuseur de Filles”, “La turlutte du Rotoculteur”, and then right into “Pétipétan”. The first delighted me immensely when André and Éric leapt up out of their chairs and had a bit of a standing stomp-off, grinning at each other. The second was great when all of us in the room started singing along on the turluttes. And the last, whee! This being one of the few De Temps songs I can actually do a bit of response on, I happily jumped in on that too!

We did get one encore, which was also great fun. Afterwards, Dara and I had the brief but happy pleasure of chatting a bit with M. Brunet, since we were able to tell him that HEY! We’d just seen him perform with Bernard Simard et Compagnie in Joliette! And with the help of Dejah and Devon Leger, I also chatted very briefly with M. Beaudry, expressing how Dejah was helping me with my French, how I was learning some of the differences between Quebec and Acadian French (h/t to userinfobrightbeak!), and how we’d been trying to transcribe the lyrics to “Grand Amuseur de Filles”. I’m pretty sure my nervous fangirl babbling got a bit ahead of M. Beaudry’s English–he leaned over at me a couple of times with this “quoi?” look on his face, and Devon Leger helpfully translated for me (many thanks to Devon for that)!

It was only yesterday though that I thought to check the new and updated De Temps Antan website, where I discovered that why yes, they had in fact finally gotten around to posting a lyrics sheet for the second album–including the song in question. Which, I suspect, contributed to M. Beaudry being confused at me. *^_^*;;

But! All in all, a great time, even given that I was a bit worn out from dental surgery recovery and a cold, a sub-optimal state to be in when you’re trying to watch a band whose music makes you want to get up and dance. (I settled instead for trying to practice a bit of my own podorythmie between tables). I really hope I get to see these boys perform again, and I very much look forward to their next album!

Mirrored from annathepiper.org.

annathepiper: (Aubrey Orly?)

So, De Temps Antan, right? One of the cluster of fine Quebecois bands I’ve been a-swoon over this entire year, in no small part due to the excellent vocals and bouzouki of M. Éric Beaudry. These boys have a very handy PDF of lyrics posted on their site for their first album. There is not, however, an equivalent PDF for their second, current album, Les habits de papier!

Of the songs on this album, three have muscled their way onto my Francophone Favorites playlist: “La turlutte du rotoculteur”, “Pétipétan”, and “Grand amuseur de filles”. The first has no lyrics as it is a double firebomb of turlutte + bouzouki, fiddle, and harmonica action. <3 I found lyrics for the second, for which I am extremely grateful, given that the chorus is a machine-gun spray of syllables and I had to see them transcribed to begin to try to sing it!

You would know, however, that the one where M. Beaudry sings delicious lead, "Grand amuseur de filles", is the one I can't actually find any lyrics for at all! *^_^*;;

So, I told myself, here's a brilliant idea--let's see if I can listen hard to these lyrics and see if I can identify ANY WORDS IN THEM WHATSOEVER. And since I've gotten involved with other local fans of Quebecois music and we have our little Chanson et langue group going, we're seeing if we can transcribe the lyrics ourselves!

I played with this some today with the help of userinfovixyish and userinfoeeyorerin, who reported to me that the third verse was basically talking about the singer trying to cheer up his sad, sick friend by hauling him off to a strip club, quote, “as you do”. Erin then informed me, and I quote, “I feel this entire song needs to be punctuated with eyebrow waggles, ‘as you do’, or ‘that’s what he said!’” (Which appears to be a very apt description of most of the songs that have gotten onto my aforementioned Francophone Favorites playlist. I keep getting all of the bounciest, stomping-est songs onto this list and then I find out what they mean and I’m all O RLY? >:D )

And I’m amusing myself mightily with the help of Dejah of the Chanson et langue group, who has way more French than I do, though she’s flailing almost as hard as I am on the latter verses of the song.

Here are a random sampling of phrases I was rather stunned I actually heard correctly, based on comparing with Dejah’s much better transcription of at least the initial verses:

  • Chanter la chanson de ma jolie maîtresse (sing the song of my pretty mistress)
  • Deux ou trois amants (two or three lovers) (see previous commentary re: O RLY? >:D )
  • Allons-y donc, allons aux cabaret! (let’s get to the cabaret!)

And I got several scattered other bits of phrases, like “faut la quitter” and “avec un jeune garçon”, and I haven’t yet confirmed but am pretty sure of having heard “je ne fais que pleurer” and “la fleur de la maisson”. Man, trying to transcribe words in a language you barely know is HARD and FUN and Dejah is right–doing this with music is way more entertaining than out of a textbook!

Mirrored from annathepiper.org.

annathepiper: (Aubrey and Maturin Duet)

I have made some happy discoveries, and the first of them is this: I am not entirely hopeless learning things by ear. I kinda knew this already–I do, after all, I have a history of playing along with Great Big Sea, or Elvis, or now also Le Vent, and just picking out melody lines on whatever flute I’m playing. I’ve also found out in the last couple of sessions that I can also pick out a melody line on a tune if it’s a slow one.

For example, I haven’t looked at the sheet music for either “Foggy Dew” or “Arran Boat Song”, and yet I’ve managed to more or less stumble my way through both of those at recent sessions. They’re slow, and not terribly complex, and so hey, I was actually able to manage them!

Faster jigs and reels though are still beyond me. This may be a matter of just not having a big enough musical vocabulary yet to be able to reproduce what I’m hearing as soon as I hear it–or, rather, a big enough musical vocabulary to do it with my fingers on the flute. I can whistle along almost instantly, or even dum-da-deedle if I’m feeling like trying to be Quebecois-ish about it. But I haven’t made that connection in my brain yet between “I hear this” and “I can reproduce it on my instrument”.

The core skill’s got to be there, though. I can do it with slower tunes. In theory, surely therefore I can learn to do it with faster ones!

In the meantime, Éric Beaudry, in his capacity of “one of the lead singers of La Bottine Souriante”, has now joined Le Vent du Nord in flinging me songs that are demanding I play them NOW NOW NOW NOW NOW. In particular, “Au rang d’aimer” on the new La Bottine album has pretty much parked itself in front of me and looked cute and expectant and unwavering, like Cync’s dog Kosha used to do in Kentucky!

So I went OKAY FINE, since this IS a song of one of the Beaudrys we’re talking about here, and first actually picked out the melody line on my piccolo–see previous commentary re: I can TOTALLY do this “by ear” thing, if it’s a slow enough song, and “Au rang d’aimer” is! This let me figure out though that this thing is totally in D mixolydian. The tonic of the melody line is D, but C is natural rather than sharp.

Thanks to throwing the song through a chord app I have on my iPhone, I was also able to figure out that there’s an awful lot of F in these chords, another marker of it being in D mix. Note: the chord app is pretty nifty; it takes recorded tracks in your iTunes library and flings you what chords it thinks are being played in it. From the songs I’ve flung through it so far, it does a fair to middlin’ job. Which is actually very, very good for my purposes, because it leaves enough wiggle room for me to exercise my ear some and figure out where it screwed up, and what the chords I actually want in there are.

Related to this same song, one of the lines in it that totally makes me swoon is “Je serai toujours ton serviteur”, which means “I will always be your servant”. I appear to have just enough of an ear now that I can tell when I totally screw up the pronunciation of “serviteur”–I keep wanting to say “servateur”! And I can’t tell if this is because I am an Anglophone, or if I’m an Anglophone from Kentucky who is totally drawling her infant French.

Dara says it would be hysterical if, in my efforts to learn to sing Quebecois French lyrics, I wound up sounding Cajun.

Mirrored from annathepiper.org.

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