There’s a lot to like about “An Nollaig,” Eileen Ivers’ latest CD, a celebration of Christmas in the Irish style.
You probably sense a “but” waiting in the wings. There is one, a small one—but …. let’s first talk about the good stuff. Not surprisingly, there’s plenty of it.
At the core or this recording, there is, of course, Eileen Ivers—one of the finest and most creative fiddlers playing today. As always, she has surrounded herself with some brilliant instrumentalists, including members of her band, bassist Leo Traversa, flutist and piper Isaac Alderson and singer-percussionist Tommy McDonnell.
On the purely instrumental tracks—notably a selection of reels, “Christmas Eve/Oiche Nollag/High Road to Linton” and a grouping of jigs, “Apples In Winter/Frost is All Over/Merry Christmas”—the band simply rocks. This CD, like so many of Ivers’ previous works, defies easy categorization. Traditional Irish fiddle rubs shoulders with Afro-Caribbean drums. Here and there, you hear touches of Stephane Grappelli-influenced fiddle jazz. It all works. It always does.
A few other tunes, far less fast-paced and more soulful, are also standouts, including a Danish winter song, “The Time is Approaching,” with some lovely flute playing by Isaac Alderson. The closing tune, Ivers’ matchless reading of “O Holy Night,” will undoubtedly find its way onto one or more of the ubiquitous Windham Hill Celtic Christmas compilations, in the fullness of time.
By far the best and most memorable cut on the recording is a haunting interpretation of “Don Oiche Ud i mBeithill (One Night in Bethelehem),” with powerfully emotive vocals by Dublin-born contralto Susan McKeown. It’ll give you chills.
Now, on to the “but.” I’m less enamored of many of the vocals, but … I think it’s just me. McDonnell, for example, does a creditable job on the classic Vince Guaraldi tune, “Christmas Time Is Here.” I think I just selfishly wanted to hear more Ivers!
And I’ll admit to the same irrational selfishness on “Jesu, Joy of Man’s Desiring”—it’s a jazzy, upbeat take on Bach. Still, the choir infuses the piece with huge, full-throated energy. (If anything describes Eileen Ivers’ approach to music, that does. I mean, what choice did they have?)
You may be more of a fan than I am of the singers and the arrangements. But even if you’re not, there’s enough pure Ivers on this CD to make it all well worthwhile.
