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A chubby chambermaid from Chile checking out the chamberpots in Cheshire would listen to…

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In this era of mega-concerts in ginormous sports arenas, it is pleasing to see that gigs in smaller, more intimate venues are also doing rather well.

Over on TIGGER’S magnificent STARTER FOR TEN MEGA-THREAD, @thecheshirecat published this list of his Chamber Folk favourites.

Leveret – Bagpipers
Three Cane Whale – Cassiopeia
Alasdair Fraser & Natalie Haas – Moccasin Walk/Ackley Lake
Purcell’s Polyphonic Party – Upon a Summer’s Day
Olov Johansson & Catriona McKay – First Class to Glasgow
Eelgrinders – The Voyage
Rheingans Sisters – Ostbjorka
The Wendigo – Frenetique
Patterson Dipper – Mathilda’s/The Lads in their Hundreds
Askew Sisters – I Wandered by the Brookside

I set about making a Spotify playlist only to discover that I could only find half of the artists. A timely reminder that there are all kinds of interesting musicians out there on grass roots level who are local heroes but are not as widely known as they ought to be.

Here’s a thread where you can give them all a mention.

Cheshire has inspired me to ask you all about your Chamber Folk favourites. Here is how he describes the music he is thinking of:..

Duos, trios, quartets; mainly but not exclusively instrumental; understated, not shouting out to the dancefloor; giving space to the instruments less travelled – cello, harpsichord, gurdy of course, but then some; nyckelharpa, psaltery, hammered dulcimer. Sometimes invoking the baroque, at other times Steve Reich.

It is definitely a genre that thrives in Scandinavia.

The Rheingans attended Bollnäs folkhögskola (adult education college) in Sweden in their youth and mentioned their happy memories of those times when they played here in Stockholm in 2023.

Vicki Swan of Purcell’s Polyphonic Party is an accomplished player of that most Swedish of instruments, the keyharp aka nyckelharpa.

Quite a lot of jazz produced up here in Nogginland shares the qualities he mentions which can lead to some fruitful meetings between jazzers and folk music.

Pianist Jan Johansson’s magnificent Jazz på Svenska – Jazz in Swedish-from 1964 is based on old folk tunes. Norwegian Jan Garbarek has worked extensively with folk singers.

I’m a tiny bit cynical. CHAMBER FOLK, is probably, like WORLD MUSIC, a genre invented to attract more attention to a certain kind of folk music.

But as I really enjoy this more low-key, introspective, contemplative, atmospheric music, I can live with the category.

Vashti Bunyan, Julie Fowlis, the Unthanks and John Fahey can all fit in rather well.

To sum things up… it’s the kind of music that a chubby chambermaid from Chile would listen to while checking out the chamberpots in a hostel owned by thecheshirecat.

Please share some of your Chamber faves. Think outside the Pot!

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Comments

  2. One obvious candidate for inclusion within your delightful cast of players must be the superb trio who call themselves Lady Maisery, and one third of whom is a Rheingan sister as already mentioned.

  4. I think the Taksim Trio qualify. I discovered them via a Word CD an age ago. I think it was a different track to this or a different version – if anyone knows, do tell.

  5. I saw these chaps at the admirable Folklore Rooms in Brighton playing to 6 people which is tragic as they were excellent. A fusion of Cuban and South American folk, jazz and classical flavours. Fabulous.

  6. With vocals rather more to the fore than perhaps the ‘chamber folk’ idea suggests, you’d also enjoy exploring the scattered discography of the collective who go by the name of ‘The Owl Service’. Yes, named after the spooky book, and that tells you something of their Wiccan tendencies.

  8. God, I have lashings of this, it almost my specialist subject, at least as far as Scottish folk and Neo-trad go. But here is something Flemish I rather adore.

    Hartwin (Dhoore) is an accordion player from Belgium. This is one track from a gorgeous album, The Unfolding, featuring he and a string quartet. And, on this track, an electric guitar.

    Memo to @thecheshirecat : he appears at this years Shrewsbury, in a duo with Ross Grant
    https://shrewsburyfolkfestival.co.uk/ross-grant-hartwin-dhoore/

    • At Sidmouth too, I think. I’m looking forward to it. Ross is one of the prime movers behind Bromyard Folk Festival, so I tend to see him in organising mode, rather than his evident creative side.
      I first came across Hartwin many years ago at Shrewsbury with is brother in Snaarmaarwaar. Plenty of CDs already in my collection!

  10. My last contribution is the Kinnaris Quintet; 3 fiddle, guitar and mandolin. They are terrific. Shortly to become Kinnaris Q (as one of them is leaving.)

    This was from Sidmout last year, when they were also quartet, but with the mandolinist on poorly leave.

  11. Sweden’s most important musical export since ABBA?

    The nyckelharpa now has a whole website dedicated to it.

    https://www.nyckelharpa.eu/ana_alcaide/

    Ana Alcaide has had quite a career playing one in Toledo.

    Ana Alcaide, from Toledo. After being awarded a biology scholarship, Ana travelled to Sweden where she first laid hands on the nyckelharpa and taught herself how to play it on the streets of Toledo. In 2005 she returned to further pursue her music studies, and graduated from Malmö Academy of Music -Individual Project. Ana has played a pioneering role in introducing and popularizing the nyckelharpa in Spain, playing ancient spanish and sephardic repertoires.

    And surely oud maestro Anouar Brahem belong here?

    Here he is with his wonderful composition LE PAS DU CHAT CHEDDAR.

    • I would have preferred it if it had been Le Pas du Chat Cheshire! I’m a bit late to the party on this thread, but there are some wonderful suggestions and discoveries.
      I think the nyckelharpa particularly lends itself to this idea of chamber folk. There is something about the sympathetic strings that adds some depth to the arrangement. For the record, it is my second favourite instrument.

  12. A couple of acts that I’ve seen live in the past year or two that fit in perfectly.

    From Stockholm a fine duo, Lisa Rydberg, violin, and Lisa Eriksson Långbacka.accordion.

    Based in Quebec, here are Constantinople.

    KIYA TABASSIAN, SETAR ( a very ancient Persian instrument).

    ABLAYE CISSOKO, KORA PATRICK GRAHAM, PERCUSSION

    • Deck me, that top one is gorgeous, the lead violin, as he starts to play, hits my tear duct in just the right key. The whistling then ruins it, mind, but the Scandis love a bit of whistling. Another of @thecheshirecat ‘s favourite chamber types are the band, Dreamer’s Circus, who do just fine until their, apparently, most celebrated track, which is vile. I dare say he wil put it up to shame me.

      • Jaskane are from Ennis in Ireland rather than Brittany.

        This is from Bandcamp:
        Jaskane is an eclectic chamber folk (they qualify!) trio drawing influences from Breton folk to Latin tangos; Parisian jazz to contemporary film themes.

        Etain McCooey – Oboe, cor anglais, tin whistle
        Karen Kelly – Violin
        Jason Noone – Guitars

        I highly recommend visiting their Bandcamp page where their music can be freely downloaded.

        • Thanks for putting me right about their country of origin, Vulpes.

          I’m glad i discovered them. They fit in well here.

          An instrument that is well suited to more intimate performances is the kora. Here is the late, great Toumani Diabate.

          The kora combines very well with all manner of instruments. Not least the harp…Catrin Finch and Seckou Keita are spell-binding when they play together.

  17. The Gloaming belong here too. Martin Hayes and the late Dennis Cahill had worked together for years, but the addition of the hardanger fiddle, Thomas Bartlett’s brilliant counterfigures on the piano, with the occasional sean nos vocal, take it into chamber territory.

    It should have been obvious to me from the start that this, my favourite piece by anybody, also belongs here. Eleven days ago, I even made the effort to cycle out into the wind from Oban to find the island after which it is named!

  18. Wot? No kantele yet?

    Finland’s national instrument is a obvious choice. Sinikka Langeland shows off its possibilities here.

    And here’s an hilarious history of the evolution of the kantele by Ida Elina

  19. With a little more scavenging around, I am sure that I will find few more combos out there in Europe that fit in here.

    A few vintage acts here from France….

    Le Grand Rouge

    La Bamboche

    Malicorne

        • Finger on the Swedish pulse as ever, @hubert-rawlinson.

          Ale and Lena have played together many times over the years.

          It was a big deal when they did Nordan their first album for ECM.

          They premiered the album with an excellent concert at Konserthuset, a far swankier and much larger venue than they are used to. I was there, of course, and it made a big impression on me.

          It was followed by Ågram and Frifot- which was the nm of the band they had with Per Gudmundson

          This blog contains informative reviews of all three

          https://ecmreviews.com/tag/ale-moller/

          The sax player on those albums was Jonas Knutsson who recently has had a duo, Norrland, with guitarist Johan Norberg.

          Their music is most definitely chamber folk.

          Here’s Jonas with the wonderful quartet, Kraja.

    • Quercus are chamber folk? Good grief, I had no idea.

      Me and the missus already have our tickets for their gig at St. Georges in November. Last time we saw them there they fair blew the roof off. Nowhere near a chamber approach, rather too muscular for that motif.

      • i don’t know Quercus. FOXY, but what I’ve seen of June T over the years would never lead me to describe her as muscular. She seems so restrained and under-stated.

        But you have seen her combo live so you know hat you are talking about.

        I’m just pleased that they’ve been brought to our attention.

        • Indeed. June’s solo work is unmistakably restrained – it is her trademark, careful song delivery that demands the listener to listen, you’re right. Once united with the instrumental powerhouse of the Oysterband or as a third of Quercus, her delivery sits particularly well within a more powerful machine; she still sings with amazing clarity and precision, demanding attention, but the overall effect is more muscular!

          • Thanks for explaining. It all sounds like a very positive development: bandmates that challenge her to stretch herself a little more. She is a great singer.

            This thread has introduced a whole variety of new names to me. If some are a little borderline, there’s no harm done.

            Here’s another Swedish band, Triakel.

            Emma Härdelin is the singer from folk-rock band, GARMARNA.

  22. I’m going to push the envelope and go a bit ambient with a track from a marvelous album produced by the late, great, Hector Zazou. LES NOUVELLES POLYPHONIES CORSES.

    Ryuichi SAKAMOTO AND JON HASSEL also played on the album.

  24. Greek singer, Savina Yannatou and her excellent band, Primavera En Salonica, definitely, deserve a place on this thread..

    You will not be surprised to hear that she has made several albums for ECM.

  25. That pesky YouTube suddenly recommended this. AI has certainly been eaves-dropping on my recent listening.

    It’s more than decent. Odeia are from France.

    Here’s a Blast from the Portuguese Past. 1990 to be more precise. It still sounds magnificent.

    Rodrigo Leao left the band and became very successful in his own right and has worked with some interesting British collaborators like Neil Hannon.and Beth Gibbons

    • Verily. You are Sir Fitterstoke the Fearless.

      What heresy is this?

      As Dr Johnson once said….

      When a man is tired of chamber folk/world music kinda stuff, he is tired of life.

      It’s rather like saying ,

      I’m tired of eating delicious curries.

      i am weary of dancing the tango with sensual young latinas.

      I am cream-crackered at the thought of another wee dram of exquisite malt whisky.

      My bad, I must learn to be more broad-minded and accept that One’s man hater is another man’s’ Van der Graf Generator.

      • Well, no – it’s not like saying any of those things…and I don’t hate it.
        I just find it a bit…meh…

        If I might quote you from the OP:
        “I’m a tiny bit cynical. CHAMBER FOLK, is probably, like WORLD MUSIC, a genre invented to attract more attention to a certain kind of folk music” – and it’s that pale, colour-washed, ECM record cover, sandal and beard-wearing demographic, bland, semi-ambient but not quite…
        well, you know where I’m coming from.

        (I’ve said too much)

  27. Any road up, I have been negligent in my contributions. I do have to earn my keep sometimes.

    Tom Moore and Archie Churchill Moss have a particular type of chamber in mind. Squashcourtfolk, anyone?

    And then there’s the lovely Tarren. This fits the bill. Even though they’ve commandeered the entire church.

  29. Ive a bit of time so here are a few more of worth. (I tend to prefer my chambers to be vocal free, although something choral can cut it, which is why I add the Shelagh McDonald.

    • Maybe it’s the definition which is confounding me – but why is this “chamber folk”? What about it makes it fit that category?

      (For the record – I very much like Shelagh McDonald)

      • Cos the arrangement is a little “classical” in its style, as is the chorale that concludes it, I guess. IIRC by Richard Kirby, who did most the Nick Drake string arrangements.
        My simplistic view is that if you tag chamber in front of folk or jazz, it implies it is a bit more precious and could be played at a recital, rather than at a gig.

          • That was a jape, of course – a little prod at the NME’s (writers and readers) use of “pretentious” as an insult for anything they didn’t like.

            But, on reflection, you’ve crystallised why a little of this goes a long way for me – it’s too precious.

  32. David Murphy is a pedal steel player from Ireland (and plays live with The Delines for their European tours.) He released an album of Irish music last year: “Cuimhne Ghlinn, Explorations in Irish Music for Pedal Steel Guitar”. Here is a track from that, Bridget Cruise

    • Bravo. Thanks a lot @retropath2.

      You have really pampered us with a cornucopia of chamber goodies. All new names to me.

      I will take a look at TradTV.

      It’s remarkable what we’ve turned up between us. Cheshire and you really have an encyclopaedic knowledge of the British folk scene.

      Add to that all our other dedicated and knowledgeable contributors and we have a chamber folk smörgåsbord such as never been enjoyed before..

      For no particular reason i suddenly thought of Lal Waterson and Oliver Knight’s album
      Once in a blue moon

      Overcome by a sudden wave of nostalgia, here’s another blast from the past…filmed at the Albert Hole, Bristol 1994.

      YT just suggested this for me…. I won’t argue

  34. I’ve seen several of the artists I’ve mentioned at a wonderful, cosy folk club called Stallet.

    I’ve just remembered a couple more.

    3MA from MALI, MADAGASCAR and MOROCCO. Ballaké Sissoko, Rajery and Driss El Maloumi

    also from Madagascar, D’Gary

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