Le Vent Du Nord – 20 Printemps
La Compagnie du Nord – 28 January 2022
When I reviewed Territoires, the previous album from the award-winning Le Vent du Nord, for Folk Radio in 2019, I referenced the interactive information section of their website, showing that it was some seventeen years since their formation. Strangely the site still gives that figure, although patently, as suggested by the title of their latest release, 20 Printemps (20 Springs), it is now some two decades since the group’s naissance in August 2002. However, one thing that has not stood still is the development of the group’s music on this, their 11th album.
Hailing from Québec, the only French-speaking state in Canada, and surrounded by Anglophones, for the past twenty years, the group have relentlessly pursued the path of championing the vibrant and eclectic culture and music of the Québécois, becoming de facto cultural ambassadors for French-speaking Canada, touring the world and performing over 2000 concerts.
At the forefront of Québec’s, indeed Canada and the world’s, francophone folk movement, the group draw upon a vast canon of both traditional sources and original compositions which are firmly rooted in the Celtic diaspora, with, as I have noted before, the aim of delving deep and reinterpreting this traditional music, and, in the process re-imagining Québec’s identity and its place in the world, whilst at the same time incorporating a range of global influences too.
Featuring button accordion, guitar and fiddle, the band’s sound continues to be defined by the hurdy-gurdy and dynamic podorythmie, a traditional French Canadian/Acadian and Métis percussive technique of tapping one’s feet during musical performances, often referred to as just les pieds or feet, which accompanies the melodic instruments and provides the rhythm of the tunes.
The 12 tracks of 20 Printemps are a fine mélange of both traditional songs and tunes, sourced variously from song-collecting amis and national archives, together with their own compositions, with the band, Simon Beaudry (vocals, bouzouki & guitar), Nicolas Boulerice (vocals, vielle à rou (hurdy-gurdy) small bells), André Brunet (fiddle, foot-tapping & vocals), Réjean Brunet (bass guitar, button accordion, piano, bombard & vocals) and Olivier Demers (fiddle, pieds, mandolin, guitar, bass and snare drums, & vocals), consolidating upon the expansive depth of sound, on this their second album as a five-piece, first heard on the aforementioned Territoires.
In a thoughtfully sequenced running order, which contributes to highlighting the diverse ebb and flow of tempo, rhythm and dynamics, the album is book-ended by two of the four instrumental contributions. It may have been a journey of 80 days for Phileas Fogg and Passepartout in the renowned Jules Verne book, but with Tour du Monde, a suite of three tunes comprising the traditional Toto, Olivier’s Reel scandinave and Reel ABC, a composition from André and Olivier, which flaunts a swaggering, breathless exuberance, the group manage the feat in a little over 300 seconds, delivering an opening track which truly epitomises their sound. In contrast, the album closes with a thoughtful, graceful piece, courtesy of Olivier. Petit rêve IV, the latest of his ‘little dreams’, numbers II, III, V & IX already, somewhat anachronistically, having appeared on previous releases, again illustrates his propensity to create music that has the ability to both soothe and relax.
The two other instrumentals featured are La Centaur and Turlute du Mai. The former, which I assume refers to the mythical creature rather than the small Solar System body, is a frenetic fiddle and feet-led set which develops in both tempo and added instrumentation to deliver a whirling dervish-like climax in the celebration of spring and Québec’s natural beauty, whilst the latter is a very fine example of a turlutte, a form of traditional Québec song made popular by Canada’s first ‘chansonnière’, Madame or La Bolduc (née Marie or Mary-Rose-Anne Travers), which consists entirely of vocalised, wordless variations on tamtidelam, tam tidelidelam, here delivered with stunning harmonies, over percussive pieds, in a tune which celebrates ancient tradition of marking the end of winter by planting a kind of decorated Christmas tree, but in spring.
With all lyrics being sung in French, as befitting the group’s ethos, they have stated in the past, “We are of a unique culture, and that’s what we represent” arguably, a knowledge of the language would be beneficial, the universality of emotions expressed through the music transcends language barriers.
Of the four traditional songs arranged here, the first, Ma Louise, has been released as the first single. A love-ballad, learned from Cap-Breton musician Robert Devaux, with an almost country feel to the tune from Simon and André, this tale tells of the gallant young soldier setting off for war, leaving behind his tearful Louise who begs him to stay, with a promise that he will return to be her lover. Six months later, he comes safely home, but one month later, there is a dramatic twist to the saga on their wedding day.
Both Vos amitiés la belle, with violins to the fore, and Marianne, with its introductory drone-like vielle à rou, give ample opportunity for the vocal prowess and harmonies to shine. In the latter, the group offer a shortened version of the traditional Corbleur, Sambleur Marion song, which has been collected in at least eight locations in France, one of which even appears in Alphonse Daudet’s 1881 novel Nouma Roumestan, and more than a dozen times in Canada, and was released on vinyl on the 1957 Folkways Songs of French Canada LP. Here, in a version collected from 89-year-old M. Guimond, the atmosphere in Marianne builds to a dramatic crescendo, a perfect accompaniment to the dark, foreboding lyrics, telling the tale of a deceived husband.
However, perhaps the most intriguing track on the album is their version of Le navire de Bayonne (The Ship from Bayonne). I first encountered this being performed by Malicorne on their Vox album. A traditional French sailor’s song, it tells the story of a ship finding itself amidst a terrible storm. With the crew overcome with fear, half are reduced to tears, whilst the other sing songs of praise to God, asking for mercy on their souls as their demise approaches. The ship’s captain steps forward, telling them to take courage and assuring them that they will all be safe. The storm passes, and the crew fall on their knees in thanksgiving and promising to have a great Mass said in honour of this event and to redouble their devotion to God. A magnificent song, the group’s interpretation swings from pure Celtic folk-rock, through Jacques Brel-like vocalisations and moods, to jazzy bass vibes and back again.
Whilst their musical credentials on the traditional songs and tunes reinterpreted in their own style are exemplary; their own compositions display an equally consummate flair for creativity. The jauntily animated Dans l’eau de vie de l’arbre, a paean to Canada’s most famous culinary export, maple syrup, simply fizzes along. In a similar vein, Si vous voulez, a song extolling the virtues, and the potential downside of excess, of wine. This is an infectious track, with its vocal call and response elements judged to perfection, a superb blending of instruments and the insistent underlying rhythmic pieds. Lyrically at least, L’auberge (The Inn) shares a similar subject matter,
‘L’autre jour dans une auberge, avec plusieurs de mes amis
J’ai passé la nuit à boire, ma maîtresse auprès de moi
Moi, j’aime à boire, je m’en fais gloire…’
(The other day, in an inn, with several of my friends
I spent the night drinking, my mistress beside me
Me, I like to drink, I pride myself on it…).
Musically, however, the two songs could hardly be more widely contrasting. Here the tempo is much slower, and the song is delivered a cappella, with totally captivating gospel/bluegrass sounding harmonies leading to a whistled ending that lingers long in the memory.
The stand-out self-composed song, however, might be Amériquois. As on previous releases, the group do not shy away from highlighting historical, socio-political Quebecois issues, and this tour-de-force is no exception. Invoking the memory of Louis Riel, resistance leader and founder of Manitoba and Jean Lesage, the 1960s politician and leader of the Quiet Revolution, after whom Quebec City International Airport is named, the song talks about “our adventures together, our differences and our wounds – as tenderly as possible”,
asserting
‘… on aura desserré les cols’
(…we will have loosened the collars),
bringing to mind the oft politically charged promotion of Breton culture espoused by Alan Stivell. Musically, the song once again features sublime call-and-response phrases and a melody from the top drawer of Celtic music.
This twentieth-anniversary release could have seen the group wallow in nostalgia and past glories. In reality, this album should rather be seen as a celebration of their first two decades, with more to come. Yes, they can be viewed as fierce guardians and protectors of tradition, but, importantly, they continue to evolve and expand boundaries with their songwriting and music. 20 Printemps confirms that Le Vent du Nord are one of the very best proponents of this genre of music of this, or any, generation.
Live Online Concert – Friday 28 January 2022
The album “20 ¨PRINTEMPS”, which celebrates the 20th anniversary of the folk/trad quintet Le Vent du Nord, is available for purchase today (Friday, January 28). The band will offer a live performance on Facebook at 5pm (Eastern time) 10pm (GMT) to celebrate this important moment with their fans! In exclusivity, Le Vent du Nord invites you to discover pieces and songs that touch the heart and make it lighter.
Folk Radio UK have partnered with Le Vent Du Nord for the concert which will also feature on our Facebook page this evening: https://www.facebook.com/folkradiouk
Website: https://leventdunord.com/
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