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Hevia: Tierra De Nadie / No Man's Land

 A l b u m   D e t a i l s


Label: EMI Records
Released: 1999.06.21
Time:
 49:32
Category: Ethno Pop
Producer(s): EMI Odeon S.A.
Rating: *****..... (5/10)
Media type: CD
Web address: www.hevia.es
Appears with:
Purchase date: 2000.04.04
Price in €: 12,99



 S o n g s ,   T r a c k s


[1] Busindre Reel (J.A.Hevia) - 4:37
[2] Naves (Traditional/J.A.Hevia) - 4:38
[3] Si La Nieve (Traditional/Toli Morilla) - 5:00
[4] Gaviotes (J.A.Hevia) - 3:41 [5] El Garrotin (Traditional/J.A.Hevia) - 4:36
[6] El Ramu (Traditional/Toli Morilla) - 3:01
[7] La Linea Trazada (Traditional/J.A.Hevia) - 3:30
[8] Llaciana (Traditional/J.A.Hevia) - 3:26
[9] Sobrepena (Ramon Prada) - 4:23
[10] Barganaz (Traditional/J.A.Hevia) - 3:32
[11] Anada (Traditional/J.A.Hevia) - 4:39

 A r t i s t s ,   P e r s o n n e l



José Ángel Hevia Velasco - Low whistle, Multitimbe Electronic Bagpipe, Cricket - Cage, Asturian Bagpipe, Tin Whistle, Tambourine

Tao Gutiérrez - Percussin [1], [7]
Juan Carlos Mendoza - Electric Bass [1]-[3], [5], [7]
Javier Monforte - Electric Guitar [1]-[6], [8]-[10]
Daniel Lombas - Bodhran, square Tamburine [2]-[4], [6], [8], [10]
Peter Bulla - Violin [2], [3], [5], [6], [10]
Toli Morilla - Acoustic Guitars [2], [3], [6]
Maria José Hevia - Percussion [3], [6], [8]
Wafir S. Gibril - Arab Flute [3]
Fernando Gonzales - Acoustic Guitar [5], [7]
Miguel Alonzo - Scottish Bagpipe [5]
Cristobald Garzia - Scottish Bagpipe [5]
Candi Avello - Electric Bass [9]
Elias Garcia - Bouzouki [10]
Mari Luz Cristobal Caunendo - Vocals [1]
Colectivu Muyeres - Ethnic Voices [6], [8]
Ismael Tomás - Vocals [7]
Villaviciosa Bagpipe Band - Bagpipes, Percussions [1], [5]
David Pena Dorantes - Piano [11]
Rodney D'Assis - Athmospheric percussion [11]

Javier Monforte - Director
Pedro Bastarrica - Tchnical assistant
José Louis Crespo - Recording
Alberto Sabando - Recording

 C o m m e n t s ,   N o t e s


Galician bagpiper and flautist Jose Angel Hevia combines Celtic, Spanish and Australian elements in his music. His 1999 debut Tierra De Nadie was a smash hit in Europe and went triple platinum in Spain; the album received its US release that summer.

Heather Phares, All-Music Guide



Ein elektrischer Dudelsack macht sich daran, die Charts in Deutschland zu erobern. Es klingt aber keinesfalls schottisch, denn der Asturier Hevia spielt mit seiner Gaita -- dem spanischen Dudelsack -- peppige Arrangements, die spanische Folklore und Pop mühelos miteinander vereinen.

Im spanischen Asturien hat sich der archaische Klang des Dudelsacks nie vertreiben lassen. Die Asturier selbst erzählen als Begründung dafür, dass der Dudelsack bei ihnen überlebt hat, oft eine alte Geschichte, die ihre Dickköpfigkeit und Willensstärke demonstriert: Als im 18. Jahrhundert ein Bischof das Spielen von Dudelsäcken in Kirchen verbot, soll so lange kein Asturier mehr ein Gotteshaus besucht haben, bis der Bischof einlenkte. Der dadurch attraktiv gewordene Dudelsack begann erst im 20. Jahrhundert langsam auszusterben. Die Gaita galt schließlich nur noch als derbes Instrument der Betrunkenen.

Doch Jose Angel schaffte es, den Dudelsack wieder populär zu machen. Um die Gaita fit für moderne Anforderungen zu werden zu lassen, bastelte er jahrelang an der Weiterentwicklung. Zunächst wurde nur die Stimmung geändert, um das meist allein gespielte Instrument auch mit Gitarre oder Saxofon kombinieren zu können. Dann begann Hevia seinen Dudelsack mit elektronischen Tonabnehmern auszurüsten. Das hatte nicht nur zur Folge, dass nun keine Luft mehr zum Spielen erforderlich war, man konnte nun auch beispielsweise Flötenklänge elektrisch aus dem Instrument hervorzaubern. 1998 entstand damit das Album No man´s land -- "Niemandsland". Mit virtuosem Gaitaspiel, Schlagzeug, Folksängerinnen und Loops erklingt eine Musik, die sich irgendwo zwischen allen Stilrichtungen befindet. Geheimnisvoll, unbekannt, gleichzeitig aber auch eingängig und beruhigend.

Erika Habenicht, Amazon.de



Tierra De Nadie (No-Man's Land) is an intoxicating listen that touches the spirit and lingers awhile. Ancient-sounding melodies and rhythms, some spurred by modern beats and other sonorous twists, drive the tunes by Jose Angel "Hevia" Velasco, a gifted songwriter-musician from the Asturias region of northwest Spain whose multi-tone bagpipe mastery sparkles with vitality.
With lots of help from assorted friends, Hevia delivers diverse folk-influenced ballads sung by shepherds as they tend their flocks. Drawn from Celtic roots and a multitude of world influences (including tape loops and sequences accompanied by traditional voices and choruses), his music is as refreshing as a cool summer breeze.

One of the catchiest numbers is "Gaviotes (Seagulls)" a reeling spree that soars and glides melodically as Hevia plays low-whistle, Asturian bagpipes, accompanied by Javier Monforte's electric guitar and programming, Angel Crespo's rock-solid beats, Tao Gutierrez's Latin percussion, and Daniel Lombas' bodhran.

Because Hevia so skillfully spikes all of these old melodies with modernism, his fresh, lively, multi-layered, contrapuntal music should appeal to universal audiences, young and old alike.

Nancy Ann Lee, Copyright © 1994-1999 CDNow, Inc. All rights reserved.



José Ángel Hevia Velasco, a.k.a. Hevia, is something of a phenomenon in Europe. A chart-topping pop star with a #1 hit single and 300,000 in album sales in his home country of Spain, the artist seen by more Spaniards than any other in 1999, Hevia is not a singer but a bagpipe player. He comes from the province of Asturias, where he’s part of grassroots movement of young people to revitalize traditional music. He has previously recorded in an acoustic duo with his sister, has worked with the folk group Boides, and leads his own pipe band, but Tierra de Nadie is his first solo album. While it’s in a little danger of drowning in record company rhetoric about “Celtic roots,” “universal ethnic concepts” and “multitimbre electronic bagpipes,” the bottom line is this: He’s a terrific musician, he finds interesting ways to marry the traditional to the modern, and he rocks the pipes. Purists may cringe, but anyone who likes to hear bagpipes in modern arrangements should hear Hevia’s work; it’s up there with that of pipers like Robert Mathieson, Fred Morrison, Davy Spillane and Carlos Nuñez.

Tierra de Nadie’s 11 tracks back Hevia’s pipes and low whistle with typical rock instruments like bass, drums, and electric guitar, with international folk instruments like the fiddle and the oud, and with a wide array of percussion instruments. In addition, it uses the full spectrum of electronic sounds available to the modern musician, both through sequencers and keyboards, and through MIDI, which allows Hevia to produce any sound he wants through his pipes. And even if you expect all that, there are nice surprises sprinkled among the jotas and muiñeiras; one track features a women’s chorus singing a traditional devotional song from Vibañu, while another puts Hevia’s full pipe band into the mix. At the center of it all is Hevia’s piping, which is extremely proficient; on “La Linea Trazada” he proves he can go for speed, while his duet with pianist David Peña Dorantes proves he can also play with feeling. The result is a collection of tunes somewhere between traditional music and pop, reminiscent of Afro-Celt Sound System, Dao Dezi, Mouth Music, and recent works by Alan Stivell.

Steve Winick, Dirty Linen



The bagpipes are a primary instrument in traditional Scottish/Celtic music, but José Ángel Hevia (who simply went goes by Hevia on this CD) is one bagpiper who cannot be considered a traditionalist or a purist. Hevia isn't Scottish--he's from the Asturias region of Spain--and Tierra de Nadie isn't a traditional Celtic recording. Rather, the risk-taking Hevia combines Scottish/Celtic elements with everything from pop, rock, hip-hop and new age to Spanish and Middle Eastern music. On the haunting "Busindre Reel" (a major hit in Spain), Hevia even employs the didgeridoo, a wind instrument that is associated with Australian Aboriginals. And Hevia doesn't confine the bagpipes to an acoustic environment--on this CD, the instrumentalist often uses an electronic MIDI bagpipe that can be made to sound like a violin, an accordion and other instruments. Tierra de Nadie won't appeal to Celtic purists, but world music lovers who are open to experimentation will find it to be generally interesting, if a bit uneven.

Alex Henderson, All-Music Guide
 

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