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Sleeve Notes
Stantiago
More than twenty years ago my dear friend Polig Monjarret introduced me to the wonderful music of Galicia, a green and hilly region in the northwest comer of Spain. With an economy historically based on fishing and farming, it has traditionally been one of the poorest regions in Europe. Galicians speak their own language (closer to Portuguese than Spanish). The culture, particularly the music, has more in common with those of Brittany, Wales, Scotland and Ireland than Castille or Andalusia. Galicia was once described as "the world's most undiscovered Celtic country."
In 1984, in the seaport of Vigo, I performed at an outdoor festival hosted by the Galician band Milladoiro. It was here that I was introduced to a quiet and polite lad by the name of Carlos Núñez. A few years later a young and gifted Galician piper played for us during our visit to the traditional music Conservatoire of Ploemeur in Brittany. To my surprise and delight, he turned out to be the very same lad.
A short time later, with the assistance of Polig and Fernando Conde, Señor Nuñez's equally young and knowledgeable associate, I made arrangements to have the precocious piper from Vigo join The Chieftains on stage. The evening turned out to be a glorious meeting of musical styles and traditions. From that moment I was determined to recreate and expand upon the experience, to capture its essence on record as we had done years before with the music of Brittany on "A Celtic Wedding."
The project evolved slowly, taking us in many new and exciting directions never imagined that first night in Vigo. Carlos joined us on stages around the world, thrilling audiences with his unrivalled skill on recorder and Gaita (Galician bagpipes). At times he could almost have been considered a seventh member of The Chieftains. We recorded as we travelled, deriving inspiration for our musical movements from the places we visited along the traditional pilgrims route to the enchanted cathedral of Santiago de Compostela. Christians hold the site sacred and believe it to be the final resting place of St. James the Apostle. Older legends dating back to ancient Celtic times speak of another pilgrimage that followed the stars of the Milky Way to Land's End (Finisterre). Transcending its own mysterious origins, the Pilgrimage continues to draw countless thousands from around the world to this faraway land.
During our travels we sampled the many moods and musical styles of the surrounding cultures, from Breton to Basque, from Asturian to Portuguese and beyond. There is music from Medieval times, when the Pilgrimage reached its peak, and music dating further hack with far more obscure origins.
Music of a more contemporary history evolved when Galicians, like many of their Celtic cousins, emigrated in great numbers to the new world. Whether by design or necessity they settled primarily in the south, spreading their roots from Mexico and the Caribbean through Central and South America. In our travels, we were able to sample only a taste of this exotic fare, to Cuba with Carlos and our good friend Ry Cooder and later to southern California with Los Lobos and Linda Ronstadt.
Other countries with music steeped in the richness of Galician tradition tempted us to continue the pilgrimage. Unfortunately, for now, time and schedules have put an end to our travels. Argentina, Brazil, Venezuela, all will have to wait for another time, another project, another journey hack to Santiago.
Paddy Moloney
July, 1996
Pilgrimage to Santiago
1) Txalaparta
2) Arku — Dantza / Arin-Arin
Our journey begins in the Basque country of Northeastern Spain with the sounds of the Txalaparta. These wonderful ancient instruments, actually large wooden planks, would have been laid out on baskets and maize leaves and played with sticks. The rhythm was originally intended to recreate the sound of horses on the move.
The Basque country, along with Galicia and Catalonia, is one of the three historical nationalities recognized within Spain. The Arku-Dantza is actually part of three dances that celebrate the legendary victory of the people of Durango. The "Arin - Arin" is a typical free dance piece in which the couples danced separately. It is a beautiful example of the type of tune created for the Trikitixa or box accordion.
El Besu (The Kiss) — The lovely simplicity of this extremely old song speaks of love and youth, Kiss me little girl, with your coral lips. It originates from Asturias, a small principality on Spain's northern coast with spectacular scenery and a deep sense of their Celtic past. Xuacu Amieva sings and plays the rabel over his knees in the ancient fashion. This three-stringed ancestor of the violin has changed very little over time as can be witnessed in the 11th-century stone carvings to be found in the ruins of tiny village chapels along the Pilgrimage route.
Não Vas Ao Mar, Toino (Don't go to the sea, Toino) — In Roman times the north of Portugal was part of old Galicia. Today they are still linked by a similar language and their Celtic past. This cavaquinho tune originates from a small fishing village on the Atlantic coast.
Dum Paterfamilias / Ad Honorem — This recording took place late at night in the Convento de San Paio de Antealtares facing the cathedral of Santiago. At midnight, the bells tolled mournfully, wonderful for atmosphere, but they interrupted one of our better takes. We were so lost in the magic of the setting that we did not notice the nuns watching from the shadows of their enclosure. It is said that these Medieval tunes were popular anthems sung by the pilgrims on their journey.
Dueling Chanters (Sixpenny Money / Polka de Vilagarcia) — This duet has become a live favorite that we have played around the world. It is a wonderful vehicle to display the unique interplay of the Uilleann pipes and the Gaita (Galician bagpipes).
Galician Overture — What began as a thirty-second introduction piece somehow developed into this eleven-minute overture for orchestra. In the end we had a taste of music from Ireland and all our Celtic cousins in Brittany, Scotland and Galicia. Ole!
Guadalupe — Although Linda and the boys from Los Lobos never had the chance to meet (travel schedules required that we record this tune in three different cities), I think they did justice to this joyous duet. While it was still a work-in-progress we fondly referred to the tune as the Mexican Connection. It is typical of the type of song created by Galician immigrants to the new world longing for their homeland.
Minho Waltz — This unusual tune, probably of Portuguese origin, was discovered by Carlos in an old manuscript in the museum at Pontevedra. It is, I think, a perfect vehicle to display the dazzling virtuosity of our own Matt Molloy. You may note as well, towards the end, a fine flourish of fiddle from Seán Keane.
Setting Sail / Muiñeira De Frexido — Archaeologists date sea connections between Ireland and Galicia at least as far back as the Bronze Age. There is even a legend in the Irish book of conquests Lebor Gàbala (Leahhar Gàbala) that claims Ireland was founded by the son of the Galician Celtic king Breogán. In that spirit we have selected this tune, the first that The Chieftains ever played with Carlos.
Maneo — Although the tune is Galician in origin this is one of the most typically Spanish rhythms in the program, accented here by flamenco-like hand clapping as well as the Spanish guitar of Señor Eliot Fisk, a pupil of the great Andres Segovia.
Santiago de Cuba & Galleguita / Tutanthamen — There is a long history of Galician immigration to Cuba. Over the years the melodies have mixed with the exotic rhythms and choral stylings of Afro-Cuba to create a wondrous blend indeed. When we first arrived in Cuba I had asked for six musicians. More than thirty singers and players eventually showed up. Their spontaneity and joyous sense of friendship and celebration were overwhelming. By the end of the session the studio was filled with dancers and laughter that continued long into the night.
Tears of Stone — This beautiful love song advises a young girl never to trust a man's promises... some things never change.
Dublin in Vigo
a) Alborada Gallega
b) Miudiño
c) Lola
d) Jackson's Morning Brush
e) Muiñeira De Cabana
f) Muiñeira De Chantada
One evening after a concert in Vigo we finished up at a tiny Irish pub named the Dublin. After a few toasts to our Galician hosts things began to get rather lively, and by the time we left, (so they tell me) they were dancing on the tables. Later that year we decided to return to the same pub armed with a mobile recording unit and a roomful of Galicia's finest dancers and musicians. The room was packed to the rafters and out into the streets. What followed was faithfully recorded live by our engineer, who had to perch himself and his microphones rather precariously from the very same rafters.
