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Catherine John | Fandango Bragh!

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Fandango Bragh!

by Catherine John

An album of Irish-Mexican musical fusion
Genre: World: World Fusion
Release Date: 

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  Song Share Time Download
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1. Limoncito Set
4:30 $0.99
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2. O'Neill's / La Bamba
3:44 $0.99
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3. Las Casas De Madera
3:56 $0.99
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4. An Bhean Caointe (La Llorona)
2:54 $0.99
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5. Marinito Lindo Waltz
5:18 $0.99
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6. The Galway Shawl / El Rebozo
4:57 $0.99
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7. In Xóchitl, In Cuícatl Sean Nós (Poetry in the Old Style)
4:27 $0.99
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8. The Green Fields of Morelos
5:37 $0.99
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9. Polkas: La Cacahuata / The Little Diamond
3:10 $0.99
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10. El Fandanguito
5:55 $0.99
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11. Argentina
5:17 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Tracks:

1. Limoncito Set
Calliope House/Limoncito/Jucheti Consuelito/Harvest Home

Kyle Alden – guitar
Cormac Gannon – bodhrán
Dolores Garcia – jarana
Nydia Gonzalez – vihuela, zapateado
Catherine John – violin, jarana
Natalie John – trumpet
Rita Thies – flute, penny whistle
Miriam Velazquez – vocals
Sarahi Velazquez – vocals

2. O’Neill’s/La Bamba

Dolores Garcia – vocals, jarana, pandero
Nydia Gonzalez – vocals, harp, zapateado
Preston Howard – uilleann pipes
Catherine John – violin
Rita Thies – flute

3. Las Casas de Madera

Kyle Alden – guitar
Cormac Gannon – vocals
Catherine John – violin
Roxanne Oliva – accordion
Rita Thies – flute
Odilon Velazquez – vocals
Sarahi Velazquez – vocals

4. An Bhean Caointe (La Llorona)

Catherine John – violin

5. Marinito Lindo Waltzes
Alejandra/Oslo/Sobre las Olas/Marino/Cielito Lindo

Kyle Alden – guitar
Nydia Gonzalez – harp
Catherine John – violin
Roxanne Oliva – accordion
Rita Thies – flute, saxophone

6. The Galway Shawl/El Rebozo

Kyle Alden – guitars
Dolores Garcia – huapanguera
Nydia Gonzalez – jarana, vocals
Catherine John – violin, vocals

7. In xóchitl, in cuícatl sean nós (Poetry in the old style)
Bánchnoic Éireann Ó (“The Fair Hills of Eire O”)
Icuic Nezahualcoyotzin (“Song of Nezahualcóyotl”)

Preston Howard – uilleann pipes
Isidro Jimenez – vocals
Catherine John – vocals

8. The Green Fields of Morelos
The Green Fields of Morelos/Dáithí’s Welcome to Tijuana/Chinelos

Kyle Alden – guitar
Cormac Gannon – bodhrán
Dolores Garcia – jarana, pandero
Catherine John – violin, jarana
Natalie John – trumpet, trombone
Rita Thies – flute

9. Polkas: La Cacahuata/The Little Diamond

Kyle Alden – guitar
Catherine John – violin, jarana
Roxanne Oliva – accordion
Rita Thies – flute, saxophone

10. El Fandanguito

Kyle Alden – violin, bass
Kyla Danysh – violin, vocals
Dolores Garcia – vocals, jarana, quijada
Nydia Gonzalez – vocals, harp, zapateado
Preston Howard – uilleann pipes
Catherine John – jarana
Rita Thies – flute

11. Argentina

Kyle Alden – guitars, mandolin
Nydia Gonzalez – vocals
Catherine John – violin, vocals

All songs and tunes are traditional except for “Calliope House” by Dave Richardson, “Las Casas de Madera” by Ciro Paniagua Garcia, “Alejandra” by Enrique Mora, “Oslo Waltz” by Mick Foster and Tony Allen, “Sobre las Olas” by Juventino Rosas, “Marino Waltz” by John Sheahan, “Bánchnoic Éireann Ó” (text) by Donogh Mac Con-Mara, “The Green Fields of Morelos” and “Dáithí’s Welcome to Tijuana” by Catherine John, “La Cacahuata” by Luis Guerrero, and “Argentina” by Vince Keehan. Spanish lyrics to “Argentina” by Catherine John and Isidro Jimenez.

“Limoncito Set” arranged by Mariachi San Patricio. “O’Neill’s/La Bamba” arranged by A Campo Traviesa. “Waltz Set” arranged by Catherine John and Mariachi San Patricio.


Producers: Catherine John and Kyle Alden
Sound engineer: Matt Cohen
Additional engineering by Tom Luekens
Mastering: Michael Romanowski of Coast Mastering

Recorded between July 2015 and April 2016 in San Rafael, California, USA

Produced by Catherine John and Kyle Alden

Recorded by Matt Cohen at Laughing Tiger and Studio 69, San Rafael, CA

Additional recording by Tom Luekens

Mixed by Matt Cohen at Studio 69, San Rafael, CA

Mastered by Michael Romanowski, Coast Mastering, Berkeley, CA

Recorded between July 2015 and April 2016 in San Rafael, California, USA

Graphic design by Daniel Divanian

All songs Ⓟ and Ⓒ Catherine John, 2016. All rights reserved.

My Irish-Mexican Story:

I began playing the violin as a child in my native Marin County, California. My love of Irish traditional music was born in this same beautiful county, where, after graduating college, I learned my first Irish tunes and was initiated into traditional music sessions at the Mayflower Inn in San Rafael. Following another year learning tunes and soaking up the Irish music scene of southwestern France, another couple years back in Marin, and one short trip to Ireland, I arrived in Cuernavaca, Mexico, in search of the seisiún I assumed existed everywhere in the world. I soon found that Irish traditional music sessions as such were not common in Mexico, but that there existed a community of amateur musicians who loved Irish and Celtic music. With guitarist Alejandro Aréchiga and others, I inaugurated the “Cuernavaca Celta” sessions in 2009.

During my three years in Mexico, we held regular sessions in cafes and other outdoor settings, transposing the Irish pub to the Mexican patio. I found these outdoor musical gatherings to be similar to fandangos jarochos originating in the Mexican state of Veracruz, and popularized in Cuernavaca by the traditional musical movement led by Enrique Barona of Tembembe Ensemble Continuo, who came to be my revered maestro of traditional Mexican music. I also joined multi-instrumentalist Manuel Ugarte in reviving “A Campo Traviesa”, a Celtic-World Music band performing throughout the Mexico City region. With my additional experience teaching music in schools and organizing youth classical music projects in the community, my time in Mexico was a total musical immersion, with Irish and Mexican music at the center of it all. At the end of three years I was accepted to the Masters in Community Music program at the University of Limerick, Ireland. For my farewell to Cuernavaca, I organized a fandango celta at the popular El Manojo cultural center, with “Cuernavaca Celta” and Barona’s student group “Tlahuison” playing Irish tunes, Mexican sones, and fusion between the two into the night.

Upon my arrival in Ireland, I was astounded that I suddenly saw everything through Mexican eyes, and that my cultural adaptation was not that of a typical American student. Seeking a Mexican community in Ireland, I met Antonio Garcia Lopez, a superb Mexican violinist living in Dublin. My timing and luck in arriving in Ireland and meeting Antonio were perfect: he invited me to join Mariachi San Patricio, the first ever mariachi in Ireland, in its inaugural year. I eventually relocated from Limerick to Dublin, performing with the mariachi at Mexican embassy events, Mexican restaurant openings, and cultural festivals; and engaging in musical collaborations with the Chieftains and the Dubliners. Besides getting to know Ireland in this unique and novel way, learning the mariachi idiom (which I hadn’t yet experienced in Mexico), and falling into a fun and rewarding gig, I reveled in an amazing Irish-Mexican community who became like my family in Ireland.

By the end of my year in Ireland, I discovered I had constructed my own Irish-Mexican reality. I found that I was a cultural bridge between Mexico and Ireland, serving as a cultural and linguistic interpreter for newly arrived Mexicans as well as Irish people discovering Mexican culture for the first time. These people and their impressions of one another’s traditions enlightened me to the similarities between faeries and chaneques, el falsete huasteco and keening, Seán Óg and Chanoc. I lived with young Mexicans, two of them chefs who daily indulged me in the splendid cuisine that all Americans long for when living in Europe. We went food shopping at el Tesquito or el Tescote, and el Centra stood in for el Oxxo. We erected an ofrenda de muertos on Halloween. At our house in South Dublin, we jammed on violins, jaranas, guitarrón and bodhrán long into the night, and shared tunes and sones with members of the mariachi and anyone else who dropped in.

After my four-year Irish-Mexican odyssey, I returned to California where I rediscovered and re-engaged in the Bay Area’s Irish sessions and festivals, its son jarocho scene, and “Mariachi Femenil Orgullo Mexicano”, the Bay Area’s premier all-female mariachi. I make connections wherever possible between Irish and Mexican elements in music and in life, continuing to lead Celtic-Latin music sessions in my community. I have joined Patrick Goggins and David Vela of the San Francisco Irish Mexican Association and Centro Latino de San Francisco in coordinating their annual Irish Mexican Fiesta, honoring the legacy of the historic San Patricio soldiers.

This album is inspired above all by my personal Irish-Mexican identity. It conveys my unique experience with these cultures and their music. As a foray from my direct experience, the album concludes by journeying farther south to Argentina, another land with a strong connection to Ireland, and one I hope to discover one day. Thanks to my friend Vince Keehan for his permission and his blessing to translate his English lyrics into Spanish and record a new version of his gorgeous ballad, “Argentina”.
San Rafael, August 2016

Agradecimientos:

My sincere thanks to all those who supported my Indiegogo campaign, and especially to Pam Mangan, Queen of Indiegogo, who guided me through the crowdfunding process.

Anthony Adessa, Rosemary Alvino, Gary Anspach, Maricarmen Arjona, Drew Bagdasarian, Rachel Barnett, Susie Bautista, Jessie Berne, Maria Bertero-Barcelo, Joe Bilota, Stephen Bingham & Françoise Blusseau, Charles Borrett, Christina Bradley, Hector Bragado, Mai Brehaut, Julio Brionez, Suzuki Cady, César Calderón, Julia Capasso, Genevieve Carpio, Alfonso Castillo, Dominique & Christine Charly, Gabriel Cisneros, Morgan Cochneuer, Melissa Comiskey, Sean Connolly, Kevin Cornelius, Eli Corral, Evangeline Crittenden, Isobel Crittenden, Maria De la Rosa, Alexandra Devendra, Hannah Doughri, Anna Dunwoodie, Marko Edwards, Ellen Ercolini, Ana Escobar, Randall Fish, Michael Fox, Dan Gabel, Claire Gannon, Cormac Gannon, Daniel Garcia, Steve Gardner, Aimee Goggins, Patrick & Ute Goggins, Sara Gomez, Alejandro Gonzalez, Emmeline Gonzalez-Beban, Jessemy Harris, BJ Hill, Elizabeth Hopkins, Haley Hudson, Carl Hylin, Ricardo Ibarra, The Irish Literary and Historical Society, Will Jelliffe, Isidro Jimenez, George John, Joonas Kataja, Vince Keehan, Leanne Kelly, Karen Kiser, Jeff Lanam, Nancy Larsen, Aidan Leicester, Claire Liu, Alejandro Lopez, Jose Ramon Luna, Richard Mandel, Pam Mangan, Donagh Mc Keown, Dren McDonald, Megan McDonald, Nancy McEntire, Linda Meneken, Alan & Barbara Miller, Cynthia Moriconi, Leslie Murdock, Ashley Murphy, Sabrina Ng, Darcy Noonan, Rita Notley, Enda Ó Catháin, Aideen O Rahilly, David O'Keeffe, the O'Keeffe's session musicians, Karena Oberman, Gloria Oceguera, Roxanne Oliva, Cristina Olsen, Carl Oser, Dyan Pike, Conor Power, Jim Raymond (Rest in Peace), Chelsea Regnani, Jennie Renn, Rebecca Richman, Linda Robertson, Kim Ross, Amalia Rothschild-Keita, Melissa Ryan, Joel Segura, Ulises Serratos, Val Sherer, Yuki Elaine Shishima, Heather Smith, Kenny Somerville, LeeAnn Trang, Celine Ugolini, Maggee VanSpeybroeck, Deborah Weber, Jared White, Jennifer Zeni, Marina Zine

Musical and production acknowledgements:
Vince Keehan, Antonio Garcia Lopez, Manuel Ugarte, Kristen Vandling, Autumn Rhodes, Cáit Cipolla, Imelda White, Danny Carnahan

I extend my immense appreciation and accolades to my talented, intuitive, and ingenious sound engineer Matt Cohen, and to the spectacular Kyle Alden, multi instrumentalist and co-producer extraordinaire

Endless thanks to my musical communities:
Cuernavaca Celta, Tlahuison, A Campo Traviesa, Mariachi San Patricio,
Son de la Bahía, and Mariachi Femenil Orgullo Mexicano

Thanks so much to my immediate family (George, Carolyn and Natalie) and to my extended family for your love and support.

This album is dedicated to:
Ulises Daniel Serratos Hernandez

And to the memory of my young friends, gone too soon:
Robin, Sylvia and Anuar

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