Créditos e informacion en castellano

THE MARKER STONE
Gabriel Casey

Among the monuments of the past, which are so frequent a feature of the
Irish countryside, some of the most common were memorial pieces marking
the resting places of the dead. These date as far back as we have evidence
of and are sure signs of the reverence or love or sense of loss held by people
for those departed. This is a tradition stretching from Pagan times
through the ages to the present day.

The major structural monuments like the mounds such as Newgrange;
the dolmens and cromlechs aside, the most common burial memorials in Ireland
were simple marker stones. They varied in size and shape from place to place;
some were just field stones available nearby,
others impressive standing stones that still stand erect.

Nowadays and increasingly so, with so many people opting for cremation,
the marker stone is used by some to show where a departed loved one’s ashes are buried.
There is something so simple and beautiful about doing it this way as it enables people
to choose exactly where remains can be committed;
a place of special significance and now remembrance.

We finally decided on a little Burren limestone boulder as
a marker stone for Alan’s resting place
next to the willow tree at the bottom of the garden.
It’s a lovely place for remembrance of the very special man who rests there.

THE MARKER STONE

01 THE MARKER STONE · 02 EAVAN AND HER MEN · 03 BRIDGET´S LEAVE TAKING
04 ELLEN´S ARRIVAL · 05 FRANTZIATIK EDERRENIK · 06 WHAT HARM · 07 THE TACKLE
08 CAITLÍN BHUARTHA · OIHANEKO ZUHAINETAN · INTXAUSTI · 09 BLACKBERRY BLOSSOM · THE BACHELOR
10 THE FLAT OF MY BACK · THE RED PERIL OF ORMAIZTEGI · BARKATU, PEPE
11 THE OSTRICH ·12 THE SPRING RELEASED · DAINTY DOMINIC
13 THREE MAIDENS · ARHANE · 14 BEIR BUA · 15 ELURRA ZURI MENDIAN
16 TAIMSE IM´CHODLADH · THE SHORES OF LOUGH BRAN · HAZAFELÉ
17 HAMAR URTEREN BUELTAN · 18 JAVIER SENDATZAILEA · ANACH CUAIN · OILEÁN


Alan Griffin - Juanjo Otxandorena - Arkaitz Miner
Iosune Marín - Mikel F. Krutzaga - Garbiñe Sagastibeltza
Márta Sebestyén - Iker Lope de Bergara - Ixiar Jauregi
Joxan Goikoetxea - Suso Saiz - Zohar Fresco



ARTISTIC PRODUCTION : JUANJO OTXANDORENA, MIKEL F. KRUTZAGA & JOXAN GOIKOETXEA
MIXING, EDITING AND DIGITAL MASTERING: MIKEL F. KRUTZAGA - MUSIKART STUDIO

Graphic Design: GRAFIKOKI
Cover photo: The Burren, County Clare, Ireland
Portrait of Alan Griffin: Juantxo Egaña
English translation: Donal Thompson
Basque translation: Beatriz Zabalondo and J.L. Aranguren “Txiliku”
Thanks to Kontxi Irizar and Sara Estébanez for their help in supervising the texts.






And some time make the time to drive out west
Into County Clare, along the Flaggy Shore,
In September or October, when the wind
And the light are working off each other
So that the ocean on one side is wild
With foam and glitter, and inland among stones
The surface of a slate-grey lake is lit
By the earthed lightning of a flock of swans,
Their feathers roughed and ruffling, white on white,
Their fully grown headstrong-looking heads
Tucked or cresting or busy underwater.
Useless to think you’ll park and capture it
More thoroughly. You are neither here nor there,
A hurry through which known and strange things pass
As big soft buffetings come at the car sideways
And catch the heart off guard and blow it open.


Postscript
Seamus Heaney
(Nobel Prize in Literature 1995)

THE MARKER STONE
Joxan Goikoetxea


It was through Kontxi Irizar that I first heard about marker stones. She told me of the family gathering,
which I was sadly unable to attend, where Alan’s remains were buried in the beautiful garden of the
family home in Lisdoonvarna. From the very first moment, I was taken with the idea of using
‘marker stone’ as the concept and title of the album to commemorate the 30th anniversary
of the band and which we wanted to dedicate to our dear friend on the first anniversary of his passing.
I immediately thought that this could bolster and complete the peculiar universe that had been
created in the emotional farewell ceremony that we organised in Hernani in December
2023 under the name of Azken agurra (The Leave-Taking). The images of Alan and Kontxi’s
last visits to that particular Irish landscape of the Burren that they loved and which comforted
them so much, inspired several texts and musical moments.



When we consider the meanings of ‘marker stone’, the first that comes to mind is that of a ‘landmark’,
and undoubtedly Alan was this for all of us; a true marker stone on our journey.
His humanity, combined with his artistic and intellectual talent, has carved out an irreplaceable
space in our lives, one that deserves to be remembered in this symbolic way.

But if we look further into the different meanings, translations and uses of marker stones
we will find that historically they have also been used as boundary elements in physical
spaces to separate a once undifferentiated natural environment; a separation sought
for human as well as cultural or social reasons. It is this second meaning that I would like to explore
further, using it as a framework to better understand the significance of this discographic work.

My desire to make a commemorative record of the Alboka group led me initially to sift through our
extensive archive compiled over the last thirty years. Photographic material, texts, letters, books, magazines,
newspaper articles, objects, gifts, instruments, trips, posters, programmes, souvenirs...
but above all recordings. Recordings of all kinds; alternative versions of songs from our albums, demos,
recordings of live concerts, collaborations in other projects and other kinds of events in which we have taken part.

The first temptation was to make a comprehensive compilation with unreleased songs that could reflect
the different phases and line-ups of the group.





This search has led me to enjoy countless memories that perhaps deserve to see the light of day in a
more extensive publication than this one. Initiatory and unforgettable journeys such as those
to Førde (Norway) and its midnight sun where we met Ziya Aytekin and his tulum, the Turkish version
of the Basque alboka, or Nordic artists admired by us such as Väsen and Agnes Buen Garnås.
To Cairo (Egypt), where we experienced an emotional twinning between our alboka and the collection of tars,
doumbeks and bendirs that we acquired in the impressive Khan el-Khalili souk, close
to the Bayt al-Suhaymi Palace where we gave our recital. Our trip to Székesfehérvár (Hungary),
where in addition to introducing us to the cultures of the East, we met our talisman,
the singer Márta Sebestyén, who, in addition to her amazing recording collaboration in Basque -Lorius- joined us
at festivals such as Womad in Athens (Greece) or Celtic Connections in Glasgow (Scotland),
also with Alasdair Fraser, Natalie Haas, Skyedance and the much-missed Mikel Laboa,
who offered his Txoria txori to a packed Royal Concert Hall. Trips to the ever-welcoming
Italy where our esteemed Balen López de Munain acted as master of ceremonies in iconic venues
such as Folkest-Spilimbergo (Friuli) -with the legendary Chieftains-, as well as Concerti Scaligeri (Verona),
Ottocento (Saludecio), Musiche delle radici (Nogara), as well as in Turin, Padua, Reggio Emilia,
Trento, or in that extreme south of Puglia where we long to return to meet our friends from
Uaragniaun (Maria, Luigi and Silvio). There, we coined the term Euskamerata,
a somewhat off-putting term for Italians because of its association with the ‘Duce’, but which
we liked to use for those fanciful recreations with Geoff Warren and Salvatore Maiore.
We cannot forget the unique acoustic concert at the Nightingale Concert Hall
of the University of Reno (Nevada, USA), the trips to Ireland (Maynooth, Armagh...), those to
Dranouter (Belgium), Görlitz (Germany), Amarante (Portugal) and the no less satisfactory ones to
Barcelona -Tradicionarius, C. A.T.-, Ceutí, Folk Segovia, Músicas vivas de Vic, Luna Celta de Toledo,
Bellas Artes de Madrid, Suristán and Galileo Galilei de Madrid, Festivales de Navarra, Folk Getxo,
Conciertos de Radio 3, Zaragoza (Strictly Mundial), Pir (Huesca), Tenerife...
an endless list of friends and experiences that are beginning to fade away in our dwindling memory.





The exercise in reminiscence also compels us to thank the contribution of many people:
Suso Saiz, Peter Maund, Cormac Breatnach, Martin Goikoetxea, Mike Bidart and many others
who are no longer with us: Fiachra Mac Gabhann, Fernando Larruquert, Javi Area, Jonan Ordorika...
An endless list in which I will inevitably forget some names and with whose members
we have enjoyed and learned as much about music and cultures as about life itself.

But then, where should we imagine the location of that marker stone, that
boundary stone among so much multiculturalism, in such diversity, in such a
plural world in which we have moved all this time?






Alan Griffin arrived in Euskal Herria in 1984 to do a PhD in literature on Pío Baroja and decided
to put down roots here. From the very first moment and perhaps without a clear objective or intention,
yet true to his curious personality, he dedicated himself with remarkable perseverance and constancy
to listening, observing, studying, collecting, analysing, comparing, ordering and sharing aspects
of Basque music, folklore and tradition. In these almost forty years he had
time to learn to play the alboka -and how!-, to release five albums with
the group Alboka -plus this sixth one, which is practically all made up of his own material- and
two albums with the group Aintzina, an alter ego project that he started when
I was immersed in other creative dynamics and into which he was able
to channel his rich creativity. It was at that time that our dear friend from Verona,
Alessandro Nobis, coined that famous phrase: ‘Aintzina, it’s the perfect line-up,
it’s like the Alboka group but without the accordion player’. Humour has been one of the bases
of our relationship over all these years and I have adopted that phrase almost as my own when
I try to describe the difference between the two groups and projects. The Aintzina project, which
was initially going to be called Ipuinak -‘Stories’- was only the tip of the iceberg
that was to emerge a few years later. ‘La Puerta abierta. Baladas vascas e internacionales’,
‘The Welcoming Tradition’ -its English version- and ‘Sasibaladak’
are the best reflection of Alan’s capacity for work. In between, he created ‘Halfway to Hell’, a compilation
of 333 original or adapted melodies from the popular repertoire for the alboka, and numerous
collaborations with musicians, researchers and magazines. He juggled all this
activity with his work as an English teacher and the concerts and tours that came from all over.

Alboka (1994)	Bi beso lur (1998)	Lorius (2001)	Lau anaiak (2004)	Lurra, ur, haize (2017)

Going back to multiculturalism, did his involvement in the Basque-speaking
world mean that Alan put aside his Irishness, his culture, his language and his music? Not in the slightest!
During all this time he travelled regularly to his homeland where he kept in touch with his family,
his friends, the news and the goings-on in the country, the literature and the music that was being made at the time.
He continued to study his ‘non-Basque’ instruments and to play live at all the sessions he
could. For many years he was a regular at The Roadside Tavern in Lisdoonvarna with the much-missed
Micílin Conlon, at the Murphys Pub in Bridget’s Well, Liscannor, or at Marrinans Bar in Ennistymon.



In Euskal Herria he also found a way to indulge this natural side of his.
In the early years it was the group The Porter Sharks with Donal Thompson, Conor MacCarthy, Flavio,
Joserra and many other supporters who came to the Wednesday sessions at the Auld Dubliner-Azul Cristal,
a sort of English-speaking oasis in the centre of Donostia. Later, and in a more
planned and rehearsed way, Alan started Turlach, a well-oiled trio with Juanjo Otxandorena and Arkaitz Miner which
delighted us in the Kixkal sessions in Hernani. Sharing rehearsals, dynamics and coexistence with Aintzina,
they achieved a very high standard, giving free rein to traditional Irish songs along with Alan’s own compositions.






And didn’t these two realities, Euskal Herria and Ireland, intersect at any point?

We may think that it is practically impossible or inevitable that these two universes were not
influenced by each other, but I must say that Alan took great pains to point out the place where the marker stone,
distinguishing the two realms, was located. We well remember how he was the first to get upset
when an organiser or a journalist labelled Alboka as a Celtic band, such was his concept of judgement and
the need to be consistent with a project or an idea. That was Alan. The mutil-dantzas on one side and
the reels on the other; the zortzikos with their character and the hornpipes with his. He claimed
that, as a foreigner, he couldn’t introduce our concerts because it would hurt the project’s credibility
and confuse the audience about the origins and evolution of things. So what happened?
I had to do it myself through my unintelligible English or my grotesque Italian and French. Alan made up for
it with his usual irony: ‘Goiko, you know that you would be the last student I would admit to my academy,
but to tell the truth, I don’t know anyone who speaks so little English and can manage so well all over the world’.
Not content with that, he ended up writing Hi, Zelta!

So, Alan Griffin stands as a marker, a reference point for us all, and an
example of thoroughness and dedication in his prolific, lifelong work. But how
does that translate into a commemorative CD? What should it sound like?

My initial selection of material included over fifty songs, proving that my partner’s criteria
didn’t align with mine. During a few studio listening sessions, Juanjo
Otxandorena—a man of few but very wise words—offered the perfect solution: ‘We should make
that Irish record Alan was never allowed to make. It would be the best way to honour him.
’ And so that’s exactly what we did!







Along the way we have left many tune of deep sentimental value that are there begging to be brought
to life again in the near future. Many of those themes which were evolving and transforming in our
live performances, such as Altsasuko dantza, Lehen, orai eta bethi or Artolak deuko, are still in a state of
hibernation from which I hope they will soon emerge with new arrangements and recordings.

Another of Alan’s regular sayings came out whenever we had to shape a new album, select tracks, and make
the tough final decisions; the moment of choice. ‘Don’t worry, I’ve already thought of the seventh, eighth
and maybe the ninth album... It’s just a question of time and patience’. Time flies and slips
away from us, dear Alan, but I promise my patience will endure to rensing on this path which
has given us so much satisfaction. In this way I will continue to bring to light the material carefully
preserved in your vast archive. The idea of carrying the Alboka project forward in this way inspires and motivates me.

This is our sixth album, and in Numerology, the number 6 represents
balance and harmony—a fitting symbol of what you did best: taking responsibility, offering guidance, healing,
and caring. Your brother Hughie gave a heartfelt speech during the Azken Agurra—The Leave-Taking—in Hernani,
where he shared a confession you had made to him: ‘If I hadn’t come to Euskal Herria and left my Irish life behind,
I would have spent the rest of it as a lecturer at Galway University.’ And while I’m glad that wasn’t the case, in
a way, you dedicated your life to something very similar. You have been an
outstanding teacher, constantly helping us see, appreciate, enjoy, and learn
from everything in a uniquely enriching way.

The path to creating The Marker Stone suddenly became clearer, like morning mist lifting to reveal the way forward.
The starting point was the same one that had inspired this project: the last four tracks you recorded in my studio
over the past year. You once said that giving musical pieces as gifts to family and friends had
become a natural habit in your life and lucky indeed were those who received them. You also remarked,
paradoxical as it may seem, that you were living life in an especially intense and joyful way.
We can only say that we shared in that joy. The album is far from sad.With these three waltzes and Ellen’s
Arrival, it invites you to dance. No doubt Patxi Montero will create beautiful choreographies for his sessions in Elgeta,
and we will dedicate them to you.




Selecting the various airs to evoke a contemplative listening experience,
bringing to mind the Burren and the Irish cliffs, was a challenge at first. We
had versions stored in different formats, qualities, and instrumentations, even
with varying titles. There were cassette tapes saved by friends, old multitracks, mobile phone recordings.
To address this, we chose to create blocks by merging several long, cohesive tracks that were either in the same key or
shared a similar atmosphere, ensuring a smooth, uninterrupted flow for the
listener to experience the entire disc from start to finish.

The technical challenges were once again overcome with Mikel F. Krutzaga’s
usual brilliance, as he worked real magic with some of the original sources. And if that wasn’t enough,
he picked up the acoustic guitar. His rendition of Bridget’s Leave Taking was truly magnificent, so much so that
it became the first single from the CD. What would Bridget have thought?
I’m sure she would have loved it, wherever she was listening to it. Mikel
has been the engineer on all our albums except the first one, and he has a
unique, privileged understanding of what Alboka is and has been. Without a
doubt, we owe him a special thank you. Eskerrik asko, Mikel.





Thanks to the wonders of technology and the best AI available, we’ve been able to play with you,
Alan, in Hamar urteren bueltan. The Irizars will surely be delighted to dance to it together, just as
Javier Azparren will be thrilled with your bouzouki rendition of The Healer.
That is bound to be truly therapeutic.

The live performances at Kixkal, Café Eslava, and ToloFolk definitely deserved a spot in the tracklist,
especially your version of The Bachelor. It’s a shame we didn’t make better use of your singing talents!
We also heard you in the melancholic Anach Cuain, your unique lilting of Blackberry Blossom,
and your Elurra zuri mendian with Ixiar Jauregi. Listening to you recite those
lyrics brings us comfort and evokes a deep emotional peace.

You can also hear a particularly inspired Márta in one of our live performances of Lorius, a piece on which
I accompanied her on the piano, taking advantage of your absence from the studio. And from Lough Bran to
Flaggy Shore, I’ve also included Postscript, the poem by Seamus Heaney that
you cherished so much. I hope it serves as both an invitation and a guide
for those who are yet to discover the magnificent Burren landscape that
inspired this musical journey.

To top it all off, I’ve compiled an extensive list of credits, just as you like
it, detailing the origins of each of the 29 tracks that make up this CD, which
we dedicate to you. By the way, along with this CD, we’ve also released your
52 sasibaladas in a new book. Of all of them, Frantziatik ederrenik is featured
here in an engaging arrangement by Arkaitz Miner, who also sings it. I believe this marks the beginning
of your wish to see these pseudo-ballads become a part of the folk and traditional music repertoire
for new generations. You opened the door, and we are stepping through it.





There is also a list of many of the people who have been part of our story over these fleeting thirty years:
musicians, collaborators, dancers, technicians, journalists, photographers, designers, organizers, family, luthiers,
groupies, friends... I’m sure I’m forgetting someone, and I apologize for that.
And what about your beloved Alboka?






Don’t worry, it makes appearances
every now and then, if only to explain to your Irish friends what it is, how it’s
played, and what it sounds like—something you rarely did in life - a markerstone indeed!... Arhane, Barkatu, Pepe,
and Intxausti, each of them magnificent. To conclude, Iker Lope de Bergara, your devoted follower, wanted
to compose and perform on the alboka a farewell worthy of someone who remains
very much present in our lives in a special way. The title could only be the
expression you taught us to say “see you later”:

Beir Bua, Alan

01. The Marker Stone (Alan Griffin) - 2´46

Flute: Alan Griffin
Synthesizers, accordion, soundscapes: Joxan Goikoetxea

Alan Griffin’s flutes recorded live at Tolofolk festival, 11 April 2021.
Synthesizers, accordion, soundscapes recorded by Joxan Goikoetxea at Aztarna studio, october 2024.

Track also been performed, recorded and used by Alan Griffin with the following
names: ‘My wish for Hughie and Mary’, ‘Bamboo’ and ‘Fonn mall gan ainm’.

02. Eavan and Her Men (Alan Griffin) - 2´50

Flute: Alan Griffin
Bouzouki: Juanjo Otxandorena
Mandolin: Arkaitz Miner
Accordion, bass: Joxan Goikoetxea

Song dedicated by Alan Griffin to Eavan Griffin.

Recorded by Joxan Goikoetxea at Aztarna studio, 2022.

Song also played, recorded and used by Alan Griffin with the name ‘The Rakes’.

03. Bridget´s Leave Taking (Alan Griffin) - 2´02

Flute: Alan Griffin
Acoustic guitar: Mikel F. Krutzaga

Track recorded and dedicated by Alan Griffin after the death of his mother, 2023.

Acoustic guitar recorded by Mikel F. Krutzaga at Musikart studio in Amezketa, November 2024.

04. Ellen´s Arrival (Alan Griffin) - 3´48

Flute, Whistle: Alan Griffin
Bouzouki: Juanjo Otxandorena
Mandolin: Arkaitz Miner
Bass: Garbiñe Sagastibeltza
Accordion, synthesizers: Joxan Goikoetxea

Tune composed by Alan Griffin to be performed at the wedding ceremony of Ellen O’Beirn and Eoin Griffin, as their entrance.

Flutes, bouzouki, accordion, synthesizers, mandolin recorded by Joxan Goikoetxea at Aztarna studio, 2022.
Bass recorded by Mikel F. Krutzaga at Musikart studio in Amezketa, November 2024.

05. Frantziatik ederrenik (Arkaitz Miner) - 3´28

Basque translation: Juan Garzia
Fiddle, mandolin, guitar, percussions: Arkaitz Miner

Tune composed by Arkaitz Miner for Alan Griffin’s ‘Sasibaladak’ project,
inspired by a bertso (improvised verse) melody of Nemesio Etxaniz.

Recorded by Arkaitz Miner, mixed by Mikel F. Krutzaga at Musikart studio in Amezketa, 2024.

06. What Harm (Alan Griffin) - 3´01

Flute: Alan Griffin
Bouzouki: Juanjo Otxandorena
Fiddle, mandolin: Arkaitz Miner
Accordion, bass: Joxan Goikoetxea

Track dedicated by Alan Griffin to Hugh Griffin.

Recorded by Joxan Goikoetxea at Aztarna studio, 2022.

07. The Tackle (Alan Griffin) - 2´16

Flute: Alan Griffin
Bouzouki: Juanjo Otxandorena
Fiddle, mandolin: Arkaitz Miner
Accordion, bass: Joxan Goikoetxea

Track dedicated by Alan Griffin to Eoin Griffin.

Recorded by Joxan Goikoetxea at Aztarna studio, 2022.

08. Caitlín Bhuartha · Oihaneko zuhainetan · Intxausti
(Alan Griffin - Basque Traditional - Alan Griffin ) - 7’09

Flute, alboka: Alan Griffin
Voice: Márta Sebestyén
Synthesizers, soundscapes: Joxan Goikoetxea
Bouzouki: Juanjo Otxandorena

‘Caitlín Bhuartha’ recorded at Aztarna studio in the 90s.
Márta Sebestyén’s voice in ‘Oihaneko zuhainetan’ recorded live at a concert by the group Alboka at
Teatro Gayarre in Pamplona, 01 October 2001.
‘Intxausti’ recorded live by Peio Gorrotxategi at Biteri Hall, Hernani,
30 September 2016, concert named “Alan Griffin & friends”.

Song also performed, recorded and used by Alan Griffin under the name ‘Cathlen’.

09. Blackberry Blossom (Lilting) · The Bachelor
(Irish folk) - 3´55

Flute: Alan Griffin
Bouzouki: Juanjo Otxandorena
Fiddle: Arkaitz Miner
Accordion: Joxan Goikoetxea

‘Blackberry Blossom’ recorded live at Tolofolk festival, 11 April 2021.
‘The Bachelor’ recorded by Peio Gorrotxategi at Aieka studio, Ereñotzu, December 2006.

10. The Flat of My Back · The Red Peril of Ormaiztegi · Barkatu , Pepe
(Alan Griffin) - 4´35

Flute, alboka: Alan Griffin
Bouzouki: Juanjo Otxandorena
Fiddle: Arkaitz Miner

Recorded live in Gallarta, 14 October 2017.

11. The Ostrich (Alan Griffin) - 2´25

Clarinet, Tin whistle: Alan Griffin
Bouzouki: Juanjo Otxandorena
Mandolin: Arkaitz Miner

Recorded by Peio Gorrotxategi in Aieka studio, Ereñotzu, May 2007.

12. The Spring Released · Dainty Dominic (Alan Griffin) - 3´24

Flute, Tin Whistle: Alan Griffin
Bouzouki: Juanjo Otxandorena
Fiddle: Arkaitz Miner

Recorded by Peio Gorrotxategi at Aieka studio, Ereñotzu, December 2006.

13. Three Maidens · Arhane (Alan Griffin) - 4´58

Flutes, alboka: Alan Griffin
Accordion: Joxan Goikoetxea
Fiddle: Arkaitz Miner

‘Arhane’ dedicated by Alan Griffin to Arhane Miner.

Flute on ‘Three Maidens’ recorded live by Javier Ignacio Larrayoz ‘Larri’
at Herri Musikaren Txokoa, Oiartzun, June 26th 2004.
Accordion of ‘Three Maidens’ and ‘Arhane’ recorded by Joxan Goikoetxea at Aztarna studio, October 2024.
Fiddle and alboka of ‘Arhane’ recorded live by Peio Gorrotxategi at Biteri
Hall, Hernani, 30 September 2016, concert named ‘Alan Griffin & friends’.

14. Beir Bua (Iker Lope de Bergara) - 3´14


Alboka: Iker Lope de Bergara
Hypnotics: Suso Saiz
Percussion: Zohar Fresco
Synthesizers, soundscapes: Joxan Goikoetxea

Alboka recorded by Joxan Goikoetxea at the Dulzaina school-workshop in Lutxana, 24 November 2024.
Hypnotics recorded by Suso Saiz in Madrid.
Percussion recorded by Mikel F. Krutzaga at IZ studio, Amasa, June 2004.
Synthesizers, soundscapes recorded by Joxan Goikoetxea at Aztarna studio, October 2024.

The tune ‘Beir Bua’ was composed by Iker Lope de Bergara inspired by
the Irish song ‘The Lament for Limerick’. Performed by Iker at the family
reunion where Alan Griffin was given his last farewell in Lisdoonvarna, 17 February 2024.

15. Elurra zuri mendian (Alan Griffin) - 4´41


Lyrics: Alan Griffin
Basque translation: Irene Aldasoro
Flute, voice: Alan Griffin
Voice: Ixiar Jauregi
Guitar: Iosune Marín
Synthesizers, percussions: Joxan Goikoetxea

Recorded by Joxan Goikoetxea at Aztarna studio, February 2015.

16. Taimse Im´Chodlach · The Shores of Lough Bran · Hazafelé
(Irish Trad. - Irish Trad. - Hungarian Trad.) - 6’26


Flutes, alboka: Alan Griffin
Voice: Márta Sebestyén
Synthesizers, piano, accordion, Soundscapes: Joxan Goikoetxea

Alan Griffin’s flutes on ‘Taimse Im’Chodlach’ recorded live at Tolofolk festival, 11 April 2021.
Synthesizers, piano, accordion, soundscapes recorded by Joxan Goikoetxea at Aztarna studio, October 2024.
Márta Sebestyénen’s vocals on ‘The Shores of Lough Bran’ and ‘Hazafelé’ recorded live at a concert by the group
Alboka at Teatro Gayarre in Pamplona, 01 October 2001.

17. Hamar urteren bueltan (Alan Griffin) - 2´55


Tin Whistle: Alan Griffin
Bouzouki: Juanjo Otxandorena
Fiddle, mandolin: Arkaitz Miner
Txirula: Iker Lope de Bergara
Accordion: Joxan Goikoetxea

Song dedicated by Alan Griffin to Imanol Irizar.

Tin Whistle recorded by Alan Griffin in 2016.
Txirula recorded by Joxan Goikoetxea at the Dulzaina school-workshop in Lutxana, 24 November 2024.
Fiddle, mandolin recorded by Arkaitz Miner, December 2024.
Accordion, bouzouki recorded by Joxan Goikoetxea at Aztarna studio, October 2024.

18. Javier Sendatzailea · Anach Cuain · Oileán
(Alan Griffin - Irish Trad. - Alan Griffin ) - 4’50


Bouzouki, clarinet, vocals: Alan Griffin
Synthesizers, soundscapes: Joxan Goikoetxea

Bouzouki of ‘Javier sendatzailea’ and clarinet, synthesizers of 'Oilean' recorded by Alan Griffin and Joxan Goikoetxea in the 1990s.
Alan Griffin’s vocals on ‘Anach Cuain’ recorded live at Kixkal Pub in Hernani, 15 March 2010.
Synthesizers, soundscapes of ‘Anach Cuain’ recorded by Joxan Goikoetxea at Aztarna studio, November 2024.

The track ‘Javier sendatzailea’, dedicated to Javier Azparren also played,
recorded and used by Alan Griffin with the following names: ‘The Healer’
and ‘Remembrance’.

FRANTZIATIK EDERRENIK
(Frantziako neska)

Lyrics. 1550 Antwerp Songbook of Ballads. Juan Garzia (Basque translation)


1 Frantziatik ederrenik,
Abian da neska;
Bidazti doa Parisa
Aita-amen xerka.

2 Hara bidea okertuz
Xahutua beta,
Haritzpe bat babes hutsa
Lagunik ez eta.

3 Jaun dotore bat Parisa
Horra zaldiketa;
Harengana doa neska,
Arrenduz arreta:

4 - Otoi eraman nazazu,
Oi jaun zaldun presta!
- Bai bihotz osoz, damatxo,
Bihotz osoz, neska.

5 Zalditik kilimusia,
Bonetaz fereka,
Neska zelaren atzean
Jarri du aldeka;

6 Bidearen erditsuan,
Amorez galdezka.
Neskak, hori entzunik,
Hain zorrotz kopeta:

7 - Ixo, ixo, jaun zalduna,
Gaizto duzu seta,
Aita-ama legendunen
Haurra nauzu eta:

8 Bizi nahi ote zara
Legenez beteta?
Jaun zalduna, ikaratan,
Mutu eleketa.

9 Parisa heldurik, neskak
Irribarrez festa.
- Zer zaizu hain irrigarri,
Zer ote hor, neska?

10 - Jaun zaldun bat irrigai nik,
Kikil zer den eta:
Neska landan hain eskura,
Eta berriketa!

11 Jaun zaldunak, zapuzturik,
Limuri hizketa:
- Itzul gaitezen, gauza bat
Ahantzi dut eta.

12 Neskak sotil-sotil dio:
- Ez eman buelta,
Gorputzez itzuli arren
Ni nihaur naiz eta.

13 Erregek bainau alaba,
Ohorez pareka:
Bizi guztiko zintzaket
Burdinez esteka.

OIHANEKO ZUHAINETAN
(Basque traditional song)

Oihaneko zuhainetan eder zuhainik gorena
Europako popülietan famatürik üskaldüna
Hura da zaharrena Kantabriaren semia
Lorius bere lurretan beti libre egon dena.

Amongst the trees of the forest
The most beautiful is the one on the summit.
Amongst the peoples of Europe
The most famous are the Basques.
They are the oldest,
The sons of the Cantabrian,
Happy in their lands,
Always living in freedom.



ELURRA ZURI MENDIAN
(Lyrics and music: Alan Griffin)
Basque translation: Irene Aldasoro

Elurra zuri mendian,
Ulukari otsoa,
Gosez dator, eta bildu,
Artzain, arkumetxoak.
Haurra salbu dauka irmo
Aitak beso sendoan;
Ama(k) kulunka sehaska
Gozo dagien loa.

Howls the wolf upon the mountain,
Treading snow ten inches deep,
Down in hunger, sloping slowly,
Shivering shepherd, watch your sheep.
Here, where father’s arm is strongest,
Stone walls safe an infant keep,
Here the hearth will warm the cradle,
Mother’s hand rock you to sleep.






THE SHORES OF LOUGH BRAN
(Irish traditional song)

Sit you down, loyal comrade, sit you down for a while,
While I spend my last hours in Erin’s green isle.
So fill up your glasses and we’ll drink hand in hand,
For tomorrow I’ll be leaving the shores of Lough Bran.
In the incoming morning I will bid you adieu,
To my father and mother and sweet Carrick too,
But no matter what fortune I shall meet far away,
My thoughts shall be with you by night and by day.

THE BACHELOR
(Irish folk)

Ah, when I was a bachelor young and easy, hearty was I and content
I married a wife for to lie by me causing me now for to lament.
When I get home both wet and weary, ‘tis wet and weary do I come
The wife’s in bed ‘til after eleven on the longest day in the month of June.

And the first six months that we were married she never gave me a wink of sleep
For she scratched my head ‘til the blood near trickled, ‘Husband dear put down your feet.’
But when that I asked her that question, ‘twas ‘Husband, husband dearest come!’
Young women, you know, they must have pleasure, and the poor man’s
labour’s never done.

The second six months that we were married, she gave to me a loving son
She sits me for to rock the cradle and she gives me kisses when I’m done.
And if he shrieks, she beats and bangs me and, if he cries, I’m the first to run
Away from the cradle with my bother and my britches and the poor man’s labour
is never done.

Come all young men, from me take a warning, be sure and choose a loving wife
And take home my wife’s sister or she’ll plague you all your life.
And don’t take home my wife’s mother or she’ll plague you even more
But take from me my wife and welcome, then my sorrows will be o’er.

Home Newsletter Multimedia Artistak Kontaktoa Proiektuak Shop Katalogoa Agenda Who?

Follow Tracks!
Segi gure Aztarna...


AZTARNA
Latsunbeberri 10 behea
20120 Hernani - Gipuzkoa

www.aztarna.com
aztarna@aztarna.com