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NIGHT TREE Tops the Folk Charts in September 2017:
TOP New Albums and Songs:
No. 6 — Night Tree / “Wish On The Wind”, “FoWrist”, “I Feel A Rumblin”
No. 9 — Night Tree
TOP New Songs:
No. 15 — “Wish On The Wind”
Compiled by Richard Gillmann from FOLKDJ-L playlists
Based on 12,417 airplays from 127 different DJs.
“I’m thrilled to have been part of this brilliant young band’s debut album. They play with such spark and musicality. Thoughtful compositions, precise, inventive arrangements. An absolute joy. Go hear them!”
– Seamus Egan, member of Solas and Night Tree’s producer
“I went to go see these guys in a recital at New England Conservatory’s Jordan Hall this spring and it was just jaw-dropping …
… One of the most exciting roots-based music groups to emerge from the New England Conservatory in many years. Their individual chops and adventurous approach make Night Tree a band to watch for.”
– Brian O’Donovan, senior DJ at WGBH and host of A Celtic Sojourn
“Night Tree are an amazing stew of exuberant virtuosity.”
– Jon “Chip” Colcord, host of Out Of The Woods
“Night Tree is six extraordinary musicians who pool their diverse musical backgrounds to create a celtic-tinged fusion the likes of which the world has never heard before.”
– Hankus Netsky, Co-Chair of the Contemporary Improvisation Department of New England Conservatory
“Accordionist and singer Sunniva Brynnel has teamed up with Lily Honigberg (in the USA) in this new ensemble ‘Night Tree’ – very interesting and quite gorgeous music”
– Karen Tweed, influential English accordion goddess from England mentions Night Tree in her blog
“Once again, thank you, Night Tree, for coming to New World! Over the past 25 years, as I have photographed every festival, there have been some pretty fantastic moments – none more electrifying than when you took the Main Stage at noon this year and, tethers of the audience in hand, brought the entire house on an emotional, musical “Nantucket sleigh ride.” At the end of the journey, we were speechless. There was nothing to do but stand in spontaneous applause, dumbly acknowledging our collective debt of gratitude.
Night Tree brings shockingly new idioms to the time burnished language and form of irish/celtic world music, at once honoring the the traditions and pushing their boundaries with infusions of fresh sound from parallel universes. Notes and rhythms of classical, klezmer, jazz from the world over are like fresh oxygen blown onto hot coal. It was a firestorm.
What made your first performance so incredible? It was the first concert of the day! Usually the festival heats up to a roiling boil around 4/5 pm, and everyone gets fortified over dinner and drink before diving into the “mosh-pit” of night time revelry. But this year, you burned down the house at noon! I have never seen anything like it. . . like having Bruce Springsteen open for a local band at a high school dance.
So . . . thank you for what you brought up the road from Boston, my home town, to Vermont this Labor Day.”
– Bob Eddy, The Herald Times, about Night Tree’s show at the main stage of New World Festival, Vermont
Press reviews of the Night Tree album:
DIVIDE and CONQUER (Indie Music Blog) by Jamie Robash
4.0 out of 5
“I want to appreciate world music, (whatever that is I didn’t coin the phrase) but sometimes it’s hard for me being a white guy from a small Wisconsin town. But then when I use half my brain I can understand that world music is really just a way of focusing in on a style of music that at its heart is dripping with nostalgia for the old days.
But these days there are bands such as the Boston based sextet Night Tree that take this longing for sound of the old traditional ways of Irish folk and suffuse it with a bit of lively jazz at times and even a little klezmer. Oh and a whole lot of heart. And it’s nice to hear this style of music not surrounded by a bunch of loutish drunks, which for better or worse is normally how I have heard it or rather recollected I’ve heard it.
But enough introductions let’s get down to the business portion. Night Tree opens Night Tree with the slow boiling roll of the Irish balladry on “Night Trees/Viva Galicia” which envelopes with the slowness of the pouring over the moors in the early morning but then quickly turns into a fully formed fugue of fiddle and fife, accordions and gut busting percussion that later brings in a wicked soprano saxophone to throw the whole thing off wild kilter. Next we are treated to a more instrumental and traditional Irish folk song on “A Wish on the Wind.”
Later on the mellow “Wheel in the Forest” gave me a Rachel’s vibe which I really liked as it slightly diverged from the traditional Irish folk into a more instrumental and experimental guild of melody and all out togetherness with a jam band feel that wasn’t going off the rails, but rather staying within the lines. Next up “FoWrist” shows the band’s willingness to expand beyond the genre of Riverdance with a bit of well-placed percussion and keeping a happy style with the upbeat accordion. The closing piece “Survivor’s Nign” opens slow and quiet but then builds into a Celtic cry.
Night Tree is very much a record of time and place. But it is also a record of super talented musicians who have formed up to elaborate this time and place. As St. Patrick’s Day fodder as it may sound to the average schmo, Night Tree is a record for music lovers year round, not just those who are Irish once a year.”
George D. Graham: Public Radio Host, producer, music journalist:
“There have grown to be two schools of Celtic music. There are the strict traditionalists who go exclusively for the authentic sound, and an increasing number of those for whom Celtic music is the starting point for a musically eclectic journey. Eileen Ivers has incorporated blues, Latin American and some South African influence. Shooglenifty mixed Celtic with some hip-hop rhythms and electronics, Maura O’Connell and Tim O’Brien have melded Celtic with bluegrass, the band Notify have brought together jazz-rock fusion electronic and Celtic. Even those champions of traditional Celtic music, the Chieftains, have collaborated with performers well outside the traditional Celtic realm for some interesting blends.
This week, we have a distinctive acoustic group who have one foot in Celtic music, but incorporate a wide variety of influences using an unconventional combination of instrumentation. The band is called Night Tree, and their debut recording is also called Night Tree.
Night Tree formed only last year, and came together at the New England Conservatory of Music where they were students, presumably studying different genres. They brought together the odd combination of instruments they were studying, so the band features, two violins, cello, accordion, a saxophone — usually a baritone sax – and a variety of percussion, running from Celtic to Latin American with the cajon. They say they draw upon Irish, classical, jazz, Swedish folk, klezmer, and Afro-Cuban. They are mainly an instrumental group, and they have already developed a great musical rapport. From the band photos on their website, they look to be barely out of their teens, and include Lily Honigberg on violin, Chris Overholser on violin and viola, Sunniva Brynnel on accordion and lead vocals on the infrequent vocal tracks, Zach Mayer on sax, usually baritone sax, not often heard outside of jazz, McKinley James on cello, and Julian Loida on percussion. Their album was produced by Seamus Eagen, of the popular and also eclectic Celtic band Solas.
On their fan-funded, self-released debut album, they perform mainly original material often in the style of traditional, though they do serve up some interesting treatments of traditional music. A fair portion of the music has a kind of ethereal quality, but they can also turn up the energy level. Their arrangements also have some rhythmic twists while keeping it understated and often contemplative in texture.
Opening the generous 53 minute album is their title piece, Night Trees in a medley with a Solas tune Viva Galicia. The short introductory verse is one of the few instances of vocals on the album. It’s sung by Sunniva Brynnel, whose singing ought to be heard more. <<>> The band breaks into one of their eclectic cross-cultural amalgams on the second section, Viva Galicia, including the unlikely combination with the saxophones played by Zach Mayer.
The original way that Night Tree incorporates the baritone sax into their music is highlighted on the following piece A Wish on the Wind, written by saxophonist Mayer. It’s the band in their contemplative mode with an arrangement that has a lot of subtle layers.
Ships is a piece of, what in the classical world is called “program music” with a the music providing an impression of a sequence of events. In this case, a voyage about which the band writes in their description of the piece, “The ship forges onward with hubris and cheer only to meet is final end as the sea consumes without mercy.”
Another of the three vocals is Thanksgiving, also by Ms. Brynnel. The piece has a plaintive sound with the band’s typically eclectic instrumentation with the baritone sax and the Latin American percussion instrument providing a twist while the three string players are featured.
One particularly eclectic blend is the track FoWrist, which incorporates what sounds like Swedish hardanger fiddle influence with some Latin percussion touches, while getting into an increasingly energetic jig.
Wheel in the Forest incorporates some piano in a flowing piece that has a bittersweet quality, with the string players featured.
On the other hand one of the more upbeat and driving tracks is a medley of Saraswati, named for the Indian goddess of love, and Catharsis, which has the rare instance of a baritone sax taking the lead of an Irish-style reel.
The album ends with an unexpected track, a largely a cappella piece called Survivor’s Nign, an original Yiddish lament for the survivors of 9/11. Zach Mayer was, to quote the band’s description of the piece, “A little Jewish boy from Queens who watched his city burn,” and recalled it in this song fifteen years later.
Night Tree, the eponymous debut album by the acoustic sextet of current and former students of the New England Conservatory of Music, is an often fascinating and imaginative recording that mixes influences with abandon, with a kind of Celtic center. Their unconventional instrumentation with three string player, accordion, percussion and baritone sax would seem like the result of an attempt to throw a band together when not enough people showed up for a call for players for an orchestra. But instead they are full of interesting ideas and are great at creating distinctive sonic textures that effectively use what they play. The composing is first-rate, the playing is subtle and the production, by Seamus Egan, is outstanding.
Our grade for sound quality is an “A.” The everything is well captured, the clarity is commendable, and the use of sonic ambiance is effective.
Night Tree’s bio says that the group likes to get together and play in the dark to “allow themselves the opportunity to focus and listen closely to one another.” Whether you listen in the light or dark, Night Tree’s new album is thoroughly enchanting.”