Inspired, Stirring Instrumental Fiddle Sessions Recorded In Spain, Sweden & Quebec

This is an all-instrumental endeavor and Laura Cortese – actually, an American born singer-songwriter born in San Francisco and working out of Boston usually performs as Laura Cortese and the Dance Cards. She is a master fiddler in this music genre and going forward she should become as well-known as Solas, Spirit of the West, the Oyster Band, or Great Big Sea. Laura already has about seven releases in the pipeline and has performed with Pete Seeger, Tao Rodriguez-Seeger, and Band of Horses. In addition to her performing she is also the co-founder of Boston’s Celtic Folk Music Festival.

With this new musical effort, Laura unleashes powerful fiddle stuffing and the accompanying instruments are tightly wound you don’t really need lyrics or singing to understand these songs. But — it would be nice to break up the album with an occasional vocal. The Paul Winter Consort was basically an all-instrumental band through the decades with compelling similar music — but, even Winter knew he had to occasionally tweak the instrumentals with a few well-placed vocals.

On his album “Common Ground,” he inserted the beautiful “Lay Down Your Burden,” sung beautifully by Susan Osborne (not Ozzy’s wife). This is what Laura needs just as a balance for those listeners who get ants their pants when they don’t hear some vocals. Out of say nine songs, two should have prominent vocals for a balanced progression. 

But, maybe Laura has done so and I am jumping the gun…so, that aside…. let’s begin to dissect…

The opening tune on her solo album “All in Always,” is riveting and fiery. A powerful instrumental “Naked in Nigardsvatnet/ All-In Alltid” is a solid mix of intricate instruments doing battle (especially toward the finale) in a musical ring and it’s gloves are off, off, off…. this is exciting stuff. Exciting because the fiddle is rooted in folk and the bellowing bass of the cello still adheres to its classical genre. The flavor together is like potato chips and dark chocolate. Like that blue flame on brandy poured over vanilla ice cream. (You get the idea). 

This is not your father’s fiddle music. Reminds me of the dual female fiddles of the accomplished independent group Burning Bridget Cleary. Laura is definitely in that category – and that doesn’t make her a great fiddle player…it makes her a wizard of the fiddle — just like the two fiddling women in Burning Bridget Cleary.   

The majority of the melodies were written by Laura and she produced the entire event beautifully. The sound pulsates, captivates and remains quite interesting despite being primarily instrumental. I was pleasantly surprised. The first track was recorded in Sweden with Jonas Bleckman on cello, Adam Johansson on guitar, Jens Linell on tambourine and the redoubtable Laura on fiddle. It’s a great opener…

The songs were recorded in three locations – tracks 4, 7 & 8 are known as the Galician sessions, 1, 2 and 6 in Sweden and as the Quebecois sessions – tracks 3, 5 and 9. All with a different set of accompanying musicians.

On track three – there are “vocals” of sorts — as upbeat voices that are non-lyrical caress the ears. This tune as well, has energy and it’s cute with the inclusion of jaw harp by Yann Falquet who also plays guitar and melodeon. “La Petite Marche / Life Is Good Jig / The Physicist” – written by Yann Falquet includes performers Pierre-Luc Dupuis on melodeon, chromatic harp and podorythmie. Dominic Desrochers — gigue – a lively piece of music in the style of a dance, typical of the Renaissance or baroque era and often in compound time — and Laura on fiddle. This is quite a dynamic tune. There is no part of this performance that is boring. I must reiterate that though this is an all-instrumental album it has an appeal that is solid.

Track four — from the Galician sessions provides “The Hunting / Yuberia,” an infectious full-sounding melody — and as you listen to this track keep in mind that all the instruments on this album were recorded live in the same room with no over-dubs. As Laura plays lead fiddle on this confectionary tune – Xose Liz plays bouzouki, Anxo Pintos plays something called a zanfona, Chisco Feijoo plays pandeira. The song is gypsy flavored especially when handclaps are added – but, the Americana flavor still rises to the top of this cream of the crop. No doubt, Ms. Cortese is proficient with her fiddle and she performs bristling with her counterparts. Laura conjures feelings through her notes and fiddle sawing and she is firmly in the driver’s seat. The tone of her instrument — at times a tad surreal — but, that adds to its attraction. She manages to give her fiddle personality through her nimble fingers.

Many of Laura’s song titles are also quite original and strange. Track five is “Dyslexic Undresser / Coffee Drunk” – yet, I find good humor in her choice and since they are instrumental – she can name her tunes whatever she wants. This song comes off like an Irish reel and it’s a fun listen.

“Far Bright Star / The Road Home (E14)” is darker with deeper notes on Laura’s fiddle and may even be a different fiddle entirely. The second part – “The Road Home (E-14)” was written by Adam Johansson. This combination is gypsy flavored as well, and Laura manages to bring the beat down, soft at times and then she rebuilds. The varied, unorthodox instruments wind around each other like mating snakes. Nice bass line courtesy of the cello by Jonas Bleckman in the Swedish sessions. The rebuild by Laura is frenetic — but in Laura’s capable hands – it’s all in control. Real cool. Almost bolero like as the instruments follow her lead and pile on. Obviously, Laura knows how to arrange an instrumental to be intriguing and attractive.

The musicians on all these sessions are accomplished and quite polished. No evidence of tedious passages, or diffused energy or even mindless jams. They know what they have to achieve and they do it by the numbers – yet, it doesn’t sound mechanical. The tunes all have an encouraging air. Track seven – “Ondas E Chairas,” does include a vocal that breaks up the instrumentals effectively. Though sung in a foreign tongue it is nonetheless ambitious. Sung at the Galician sessions by Chisco Feijoo. This possesses a very melodic Middle-Eastern tradition.

To be honest, this entire album is for selective tastes. But, taken in small doses there is much to appreciate here. This is not music that weighs heavily on the mind. One does not guzzle cognac.

This entire effort has a refreshing sound, saturated in traditional musical histories yet, there is an excitement that runs through each selection.

Laura has stated that she intended to write an all instrumental album – inspired by her all-night jam sessions and visiting Spain, Sweden and Quebec, Canada. She brought her inspiration to these varied musicians and they worked their magic and shared it here on this remarkable little album that communicates through each musician’s fingers or breath. None of these songs, if you could call these pieces’ songs, sound like another. Each has its own personality, character, heartbeat. At the center is a young brilliant musician: Laura Cortese.

The final track has what many will recognize as an accordion, but it’s probably the combined beauty of the melodeon – of both Yann Falquet and Pierre-Luc Dupuis with Laura’s deep resounding fiddle. “Mangatskrinna,” is a short tune – with lots of muscle displayed by its musicians. This is a nice dramatic closer for a well-disciplined album of meticulous music. Well done.

Website: http://www.thisislauracortese.com/

FaceBook: https://www.facebook.com/lauracortesemusic

Bandcamp: https://lauracortese.bandcamp.com/album/all-in-always

Disclaimer: The opinions expressed in this review / commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as reference and will be removed on request. YouTube images are standard YouTube license.

John Apice / No Depression / December 2016