Wow, has it been more than 20 years?

Laura Risk was a surprise introduction, when I received of review copy of her CD The Merry Making from the former Dorian Recordings way back in 2000. The California-born fiddler was based at the time in New England and now lives in Montreal; in my review in 2000, I wrote that "if the Fates are kind and the music industry is wise, I'll hear a lot more from her in the future."

I did not. Blame the Fates, because -- based on her various credits, at least -- the music industry seems to have kept Risk busy in the past couple of decades. But, although it has taken me some time to get to it, I was pleased to find Traverse among my recent review submissions.

Her musical gifts have only grown stronger. It is her first solo album since 2004 although, on this recording, she is teamed with two equally talented musicians: Nicholas Williams on accordion and flute, and Rachel Aucoin on piano. According to the promotional materials, all three have come to the Quebec area from somewhere else: Williams migrated east from Ottawa, Aucoin west from the Canadian Maritimes (New Brunswick, with roots in Cape Breton). Between them they have several decades of traditional Quebecois music experience.

The album seems to be intensely personal for Laura, featuring among its instrumental tracks "Elsa's," a tune she wrote for her daughter, and "Jerry's Waltz," an original piece for Laura's father. A touch of trumpet by guest musician Mathieu Jacques on "Jane Risk," written by Laura for her mother, makes one wonder why trumpets aren't used in the genre more often. The instruments dance together with joy.

That particular tribute is followed by "Le Rimouski," a traditional Quebec piece that's a dance of a different sort, something appropriate to a kitchen party or back room session. It's a tune Laura learned from Marcel Carignan, younger brother of fiddler Jean Carignan. Overall, the album is full of dance-inflected melodies that are equal parts joyful and introspective. The music is definitely more heavily influenced by the Quebecois sound than I remember from the turn of the century, although it dominates the album without being too heavy-handed about it. Otherwise, the Celtic influence tends more toward the Scottish side than it does the Irish.

On a few tracks, you'll hear the subtle addition of a bit of foot percussion by dancer Nic Gareiss, probably most effectively soft-shoeing it on "Elsa's."

Traverse is 10 tracks of musical excellence that explores a rich musical tradition with a tender, but informed hand. I hope it isn't another 20 years before I hear from Laura Risk again!

[ visit Laura Risk's website ]