Second album de “Birds on a Wire”

This morning, Rosemary Standley and Dom la Neña, the Birds on a Wire duo, deliver their second album “Ramages”, as tasty as the first…

This morning, Rosemary Standley and Dom la Neña, the Birds on a Wire duo , deliver their second album, as tasty as the first. “Manouk & co”, by André Manoukian (7h22 – February 26, 2020) All the chronicles of André Manoukian on

Source: Le 2ème album de Birds on a Wire

Birds On a Wire “Which Side Are You On?”

In 1931, the miners and the mine owners in southeastern Kentucky were locked in a bitter and violent struggle called the Harlan County War. In an attempt to intimidate the family of union leader Sam Reece, Sheriff J. H. Blair and his men, hired by the mining company, illegally entered their home in search of Reece. Reece had been warned in advance and escaped but his wife, Florence, and their children were terrorized. That night, after the men had gone, Florence wrote the lyrics to “Which Side Are You On?” on a calendar that hung in their kitchen. She took the melody from a traditional Baptist hymn, “Lay the Lily Low”, or the traditional ballad “Jack Munro”

Reece supported a second wave of miner strikes circa 1973, as recounted in the documentary Harlan County USA. She and others performed “Which Side Are You On?” a number of times throughout. Reece recorded the song later in life, and it can be heard on the album Coal Mining Women.

Rosemary Stanley and Dom La Nena

The duo Birds on a Wire or the art of recovery, at La Cigale

La chanteuse franco-américaine Rosemary Standley et la chanteuse-violoncelliste brésilienne Dom La Nena partent en tournée à travers la France. Elles étaient en concert à Paris, jeudi 27 février.

Is it because she learned to sing with her father, Wayne Standley, a native of Ohio, while interpreting standards of folk or country, that Rosemary Standley has such an appetite for covers? Is it because she studied lyrical singing at the Conservatory that the Franco-American woman walks so easily between genres?

In addition to the group Moriarty who made her known by composing an original repertoire based on a fantasized vision of American “roots music”, the young woman has multiplied projects dedicated to reinterpretation.

Whether with Love I Obey (2015), mixing baroque compositions and traditional songs; A Queen of Hearts (2016), dedicated to songs written for or by women; an album with the collective Wati Watia Zorey Band, paying homage to the Reunionese Alain Peters, or in duet with the Brazilian singer-cellist Dom La Nena, under the name of Birds on a Wire, with whom she had released a first eponymous album .

Playful dimension

Thursday, February 27, the pair with the surname inspired by a song by Leonard Cohen gave a sold-out concert in the Parisian hall of La Cigale, the day before the publication of a second opus, Ramages , confirming the eclecticism of a repertoire Latin trends encouraged by the contribution of the South American.

In the darkness, it is a traditional Catalan song – El cant dels ocells (“the song of the birds”) – which opens a concert whose purity dictates impeccable attention to listening. Behind his accomplice, Rosemary Standley advances in spectral appearance barely lit by the moon. The slow nobility of Dylan’s version of I Shall Be Released [ . . . ]

Continue at LE MONDE: The duo Birds on a Wire or the art of recovery, at La Cigale