Eileen Ivers has some rather serious credentials. She is a
\nnine-time All-Ireland Fiddle Champion, has played with the Boston
\nPops, London Symphony, and the National Orchestra, and has played
\non over one hundred Celtic, Celtic fusion, and other recordings.
\nShe may be the greatest Irish fiddler alive today; certainly she’s
\nthe most prominent.<\/p>\n
She’s also one of the most adventurous. Since 1999, her work
\nwith Immigrant Soul has blazed a trail for cross-genre music,
\nincorporating African, Latin, and roots American music in an Irish
\nfiddle framework. It is appropriate, then, that
\nCrossing The Bridge<\/i> is called what it is; this was the album
\nwhere she went from traditional fiddler to the hazy and
\nbreathtaking world of Celtic fusion, and nothing would be the same
\nagain.<\/p>\n
First off, the details. As is usual with Sony Classical
\nreleases,
\nCrossing<\/i> is impeccably produced and engineered; clear,
\ncrisp, and uncluttered, the musicians take center stage. That way,
\nwhen you hear something that makes you go ‘What the hell was THAT
\nagain?’, you’re sure you heard it right.<\/p>\n
Because, in the end,
\nCrossing<\/i> is filled with brilliant moments that sneak up on
\nyou like the musical equivalent of a Navy SEAL. The slashing,
\nsudden guitar solo on “Gravelwalk,” the exuberant Senegal vocals on
\n“Jama,” Al Di Meola’s Flamenco guitar breaks on “Whiskey And
\nSangria” — and just when you think you’ve gotten a hold of things
\nand can handle whatever comes next, Ivers nails you with a solo
\nfiddle performance of “Nearer My God To Thee” that’s one of the
\nsweetest things I’ve ever heard. Fittingly, perhaps, she closes
\nwith two traditional tunes, “Crowley’s\/Jackson’s” and “Dear Irish
\nBoy,” that are just fiddle, guitar, uilleann pipes, and a
\nthrumming, thumping bodhran. Effortlessly, Ivers takes us around
\nthe world — through the Bronx where she grew up, to Senegal,
\nSpain, Poland — and then back to where it all began, the green
\nhills of Eire. We’re richer for the journey.<\/p>\n
We live in a rare time — a time where groundbreaking fiddlers
\nlike Natalie MacMaster and Mark O’Connor are pushing the envelope
\nof what the instrument means. Count Eileen Ivers among their
\nnumber, and get a listen to Crossing The Bridge.<\/p>\n","protected":false},"author":18,"featured_media":26625,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"artist":[6983],"rating":[5646],"class_list":["post-37872","review","type-review","status-publish","has-post-thumbnail","artist-eileen-ivers","rating-rating-a"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/37872","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=37872"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/37872\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/26625"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=37872"}],"wp:term":[{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=37872"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=37872"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}