On St. David’s Day, do life’s “little things”

By Michael Stevenson / Dai Bando

St. David is the patron saint of Wales and he is celebrated every year on his feast day, March 1st. Today, Welsh people will adorn their winter clothing with either a daffodil or a leek, the latter because St David himself ate only leeks with water. No ‘bangers and mash’. No Guinness. Just leeks and water. I wonder if St. David left a decent tip on the counter after his pitiful lunch? I bet he did.

St. David (or Dewi Sant in Welsh) lived in the sixth century in Wales. He once brought a child back to life by splashing the boy’s face with tears. He was also famous for his saying “Gwenwch y pethau bychain mewn bywyd” which means “Do the little things in life.” I love that St. David appreciated the “little things” in life, especially with the knowledge he could raise a child back from the dead! I can just hear him, “No ‘thank you’ is necessary, lad. Care to join me in a daffodil and leek salad?”

To celebrate this day, I’ve created a Spotify playlist titled “St. David’s Day” (see bottom of post). I’ve included several of my favorite Welsh recording artists (Welshman Tom Jones a notable exception, whose records I love, but don’t quite fit with these others.)

Cerys Hafana is a recent favorite of mine. She’s still just a kid and plays guitar, piano and the Welsh triple harp. Her vocals usually are in the Welsh language. Can’t wait to hear more from her.

For over 20 years, I’ve loved the music of Katell Keineg who sometimes lives in Paris and/or Dublin while also visiting Joe’s Pub in New York City on occasion. Katell has recorded four albums, mostly in English with an occasional song in her native Welsh language. Her father is playwright Paol Keineg and her songs are filled with literary allusions and topics (such as her song about feminist painter Leonor Fini.)

Another Welsh harpist whose music I love is Catrin Finch. She recorded a fantastic album “Soar” a few years ago, with Sengalese kora musician Seckou Keita, who is known as “the Jimi Hendrix of the Kora” (you didn’t know there was such thing, did you?) “Soar” was one of my most played albums off of Spotify, Spotify has informed me (now that we’re talking again). Catrin Finch is awesome. Search out her cover of Debussy’s Claire de Lune.

The Hobbledehoy’s favorite practitioner of “American Primitive” guitar is Gwenifer Raymond. Gwenifer was born in Taffs Well, near Cardiff, leading to the title of her album, Strange Lights Over Garth Mountain. “American primitive” is an idiosyncratic approach to instrumental fingerstyle guitar, drawing equally from folk, blues, and contemporary classical sources and played in nonstandard and often wild tunings. She’s somewhat Goth Welsh and comes with a PhD in astrophysics. Love her.

The renowned Welsh opera singer Bryn Terfel’s “We’ll Keep a Welcome” is a great introduction to Welsh traditional and classical music. I saw Bryn Terfel perform in France several years ago. I was the American guy in the audience yelling a request for the Welsh tune “Bugail Aberdyfi” until an old French lady struck me with a large baguette.

If you love the 1947 film How Green Was My Valley as I do, then you’ll appreciate the addition of Alfred Newman’s soundtrack from John Ford’s classic film. The track “School” evokes the pain and humiliation the character Huw experiences after being severely beaten by a schoolteacher. Young Huw is later avenged when the village’s prizefighter (named Dai Bando, coincidentally) beats the living-shit out of Huw’s sadistic teacher. This scene left quite an impression on me, as you may have gathered.

Actor Roddy McDowall portrayed the character “Huw Morgan” in How Green Was My Valley. In a Cape Cod bookstore, I once saw a framed drawing of a Welsh village that young Roddy McDowell penciled while filming the movie. It was signed by Roddy and in mint condition. I’ll always kick myself for not buying it right away because when I returned to the shop with cash in hand, it was no longer on the wall. “Twmffat!” as they say in Wales.

I have a bit of Welsh ancestry from my paternal grandmother’s side of the family. I loved my Grandma Greta, who resided with my grandfather on John Street, in Newport, Rhode Island. To make Grandma Greta laugh, I would do an imitation of Jimmy Durante, using my grandfather’s hat as a prop. At five years old, I could mimic Durante’s goofy walk, and deliver his classic catchphrases like “I’ve got a million of ’em” and “Everybody wants to get into the act!” Grandma Greta would howl with laughter.

When one of us at the Sunday dinner table irritated her with a foolish or unkind remark, Granda Greta would scold, “Eat your bun!” This eventually became our family’s inside-expression meaning, “shut the hell up.” Grandma Greta never once said “Eat your bun” to me.

Blood Alley in Newport, RI. My gram would say, “Eat your bun!”

I also loved my grandmother’s sister Theresa, whom we called “Teddy.” She would join us for vacations on Cape Cod as well as at all the holiday dinners. Shortly before she passed away, Great Aunt Teddy told me quite a bit about my Welsh heritage, claiming that we were descendants of the Morgans – not the fictional family from “How Green Was My Valley,” but specifically Captain Morgan, the Pirate. I intend to research this when I can afford to resubscribe to Ancestry.com, but first I must cancel Netflix, Hulu and pay another invoice from Brown Dermatology.

Happy St. David’s Day! I hope you enjoy this Spotify playlist.

And remember -“Gwenwch y pethau bychain mewn bywyd” (Do the little things in life.) And use sunscreen.

Musical Road to Womex 2024 – Cerys Hafana “Rhythm Passport”

Cerys Hafana
Photo by Heledd Wyn

If a country is nicknamed the ‘Land of Song,’ you can be sure that the quality of its folk repertoire and the talent of local songwriters are hard to match. Thus, standing out in the Welsh songwriting scene is no easy feat. However, since 2022, when we had the revelation of listening to Edyf, her second full-length release, we would have very few doubts if someone asked us to suggest an up-and-coming Welsh artist…

Cerys Hafana‘s sound is deeply rooted in the Welsh tradition, despite her being born in Manchester—yes, the very place where Womex will take place this October! At the same time, her music is challenging and goes far beyond traditional boundaries. Cerys’ approach to music is both imaginative and iconoclastic, rethinking the triple harp—her chosen instrument of disruption since she was eight—to uncover its raw, emotive power. This has placed her at the forefront of a movement that both preserves and shakes up Welsh musical heritage, suggesting new possibilities for the role of traditional instruments in contemporary music.

We reached out to her to dedicate a Musical Road to Womex episode featuring a Q&A and a playlist handpicked by Cerys herself.Could you briefly introduce your music to someone new at Womex and share the key influences and origins of your unique sound?As I child I studied classical piano and traditional Welsh harp music. I then decided that I liked alternative pop music and electronic music in my teens, and then briefly joined a 6-keyboard ensemble who played minimalist and post-minimalist music. Though I mostly perform on the Welsh triple harp these days, I like to think that all of these influences are part of my ‘sound’ and compositional process.

Could you share a personal anecdote or experience that impacted your musical journey and the evolution of your sound?

I think one of the most influential events of my musical journey has been the Festival Interceltique de Lorient. I’ve been almost every year since 2018 and each year have a memorable or strange experience. The first time I went, I performed with an ensemble of traditional Welsh triple harpists in a disused underground reservoir. Another year I had the chance to perform in the city’s football stadium for 8 nights in a row. Last year I got to hear one of my own compositions being performed by a bagad (sort of like a 60-piece Breton bagpipe orchestra) in the festival’s prestigious bagad championship, which was probably a career (and life) highlight.

In a world full of diverse musical genres, styles, and traditions, how do you believe your music stands out and brings something fresh and exciting to the audience’s ears?

I think that the harp has a lot of stereotypes attached to it. People see a harp and immediately start thinking of angels and Celtic goddesses. I don’t really identify with any of that, and often have people tell me at the end of gigs that they don’t usually like harp music but liked my harp music. I try to approach the instrument in a much more rhythmic way than people expect from a harp, and also think my particular harp has a much more ‘raw’, imperfect sound (combined with my imperfect playing technique!), which I try to embrace.

As Womex is not only the Worldwide Music Expo but also a lively global music funfair, are there any showcases you’re looking forward to attending and enjoying or artists participating that you would like to meet during those five days?

Apart from the other two Welsh artists who are performing at WOMEX this year, Gwenifer Raymond and N’famady Kouyate, I’m not very familiar with any of the other acts playing there, which is exciting! Usually the gigs I enjoy most at festivals are the ones where I had no expectations, and just found myself there by accident.

This edition of Womex will take place in Manchester, a city with a vibrant cultural scene and rich music history. Are you particularly passionate about any act coming from the city and how has the city’s musical heritage influenced your work, if at all?

I was actually born in Manchester, and lived there until I was five. My parents met in a band run by Manchester-based performance artist Edward Barton. It was called Pudding and I think the peak of their career was having their Christmas song included on the Observer’s list of the top 10 alternative Christmas songs (the song was called “Little Christmas Eve Thieving” and I think it’s up on Youtube). As it’s the reason my parents met each other, I guess it has to be the Manchester band that’s had the biggest impact on my life!

Womex is a unique opportunity to share and showcase your music with new people and inform them about your upcoming projects. Could you reveal some of your plans for the future?

I recorded a lot of solo piano compositions at the beginning of the year, and will be releasing the first batch of those in September to coincide with the two-year anniversary of my last album, Edyf. Otherwise, I’m hoping to get more time in the autumn to work on new harp material. I’m going to be touring again in early 2025, both in the UK and in mainland Europe, so I want to have some new things to play then!

Aside from that I’m also very keen to play a pipe organ, if someone would like to let me into their church.

If you had to draft an invitation card for our readers to join you at Womex and enjoy your showcase, what would you write in it?

Come and listen to some sad Welsh harp pop. Hopefully it will make you cry.


Source: Musical Road to Womex 2024 – Cerys Hafana – Rhythm Passport

Watch John Cale’s 2009 “Heroin, Wales and Me”

John Cale has hosts a 2009 documentary called Heroin, Wales and Me to promote awareness of the problems of heroin addiction, easy availability and low cost of the drug in his native Wales and thousands of addicts

“Rock star John Cale is no stranger to drugs – years of cocaine, heroin and alcohol abuse could have killed him. [Here] the former Velvet Underground star returns to Wales to find heroin causing havoc in our communities. He meets addicts, drugs workers and politicians – and asks why help is sometimes hard to find.”

WATCH THE DOCUMENTARY

John Cale (born 9 March 1942) is a Welsh musician, composer, and record producer who was a founding member of the American rock band the Velvet Underground. Over his six-decade career, Cale has worked in various styles across rock, drone, classical, avant-garde and electronic music.