Zoku / EMI
Olla Vogala : Gnanomo (B,1999)****
What annoys me about the early Flemish folkscene is the searching for a typical Flemish tradition whilst accepting only Irish influences, as if that is the best solution that 'Belgian folk' can offer. But if you look at Belgium history it was too often part of something else : the Germanic empire, the Roman empire, of Holland ; it was forced into speaking French and was part of the Spanish empire etc. etc. ; people were German-pagan, were Gnostic and free-minded, then became Roman Catholics and socialists. We came part under a whole range of influences, with a constant flow of influences thanks to the harbours which were not only close to England but also provided gateways to the North, West & South. So why should we try to behave like naïve idiots-in-a-shell ? Congo didn't bring us many African influences because that country was only abused for an extra income for the king, but the diamond business afterwards still brought over many other nationalities. We also invited Italians and Moroccans to come and work here. A new quickly grown part of the new Belgian society are Turkish & Moroccan, because they keep on bringing in people. Facing this whole reality makes Belgian people potentionally open to understand the potency (with positive and negative aspects) of other origins and customs. Olla Vogola reflected well this "new Belgian" essence on this CD.
The name Olla Vogola refers to the earliest recorded words in Dutch. It is the music project from Wouter Vandenabeele. In his folkrock days I was amazed by his violin playing and improvisation skills. After having finished conservatorium, this group became his personal professional project. No wonder he added chamber orchestra arrangements on various of the tracks. Another noticeable influence must have derived from his experiences with the folkrock group Dearest Companion (which later, without Wouter, were reformed, rearranged and renamed Ambrozijn) where at that time he interpreted with Tom Theuns and others songs, e.g. from Gabriel Yacoub (formerly with Mallicorne, which is the most known and perhaps even best folkrock group in France). Gabriel Yacoub agreed to participate on this release, on which he sang one of his classic songs. One of the still common folk-influences in Belgium which I personally always detested, as I said before, are the tyranny of Irish jig and reels, which here are adapted neatly and nicely now and then. A few more people from the Belgium folkscene were invited (with their -typical, for Flemish folk,- instruments like hurdy gurdy, bagpipes, dobro and violin). Also participating is Bert Cornelis on sitar (see review of his project at the top of this page). I also hear some Arab voices but no mention in the booklet.. I assume this is Djamel Berrezzeg. From the same label singer Catherine Delasalle also participates.
The style in general on the album is a very original combination of classical orchestrated music with definite folk influences, with some brass or trumpet, and ethnical touches, like with sitar, or with Mahgreb Arab's voice improvisations. Most songs are in French (perhaps due to the cooperation of Yacoub and Delassalle. These are generally sung beautifully by Ambrozijn singer Ludo Van Deau. Only “Pierre De Grenoble” is sung by Yacoub. There’s only one old Flemish song (where did they find that ?).
The styles in general are mixed well, even when the styles are still visible, separately. The music starts like Cro Magnon, with additional hurdy gurdy on the titletrack. “Le Roi Renauld” is a bit too surprising as the second track, starting with sitar first, then staying close to the French traditional voice lead, then suddenly moves into a duo with an Arab voice at an unexpected moment which takes the listener by surprise without giving him a musically prepared reason to believe this combination is very logical, or in a logical place for the musical content and evolution. Djamel’s voice elsewhere contributes much more as an instrument or in a rightful place in many ways, a sometimes beautiful minimal improvising of musical themes. “La Guerre”, the second last track, is for instance arranged somewhat similarly, but there each contribution sounds more logical to me. On the traditional “Roi De Renard” this still remains a bit absurd, like a fish in a forest (-even when I like fish or new combinations, there must be enough reason to make it logical, surrealistic or mystically rooted-). “Gazelle”, starting with an Arab musical theme, almost too logically couldn't get a better voice lead than Djamel's. This track continues with jazz elements and further somewhat with Arabic-like orchestrations. After that the music continues with medieval / folkrock themes, professionally and with some spontaneity. When Yacoub’s voice comes in, on the orchestrated and arranged “Pierre de Grenoble” with additional sitar, I cannot but welcome such efforts of renewing earlier versions. “Fourieranalyse” has a funny mixture of a folktraditional-like folk-theme on virtuosi violin with jazz elements and some percussion arrangements. Even when I personally cannot call a jig or reel element fundamental enough for a compositionally structure, I’m sure it’s ambitious, and in its minimal core well composed. The Dutch “Tjanne” shows the best combinations of musical elements again, which is a strong aspect for this release. Sadly such broadened elements weren't worked out further in necessary experiments with the same group over the years for the next projects. Instead I have the impression Olla Vogola remained a band leader project, from a composer in control of new accidental adaptations and contacts influenced by his education in folk and as a classical arranger.
This release was one of the acoustic folk related albums and groups from Belgium with potential. It is recommended when you prefer, within fusion or crossover music, that all traditional ideas of folk and of arrangements still remain recognisable within the basic compositional structure. Compared to later albums this album still has the most original sound and balance between all different kinds of inspirations. Other albums I've heard show the earlier mentioned foundations even more clearly.
