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Not a name that's well known outside his own tradition, but Baragaño has played with many of the big names in Asturian music and his solo debut is an impressive product. Playing flutes as well as Asturian and Irish pipes, he's joined by some of the finest accompanists and indeed soloists in Asturias, including bouzouki ace Rúben Bada who has appeared on a few Irish albums recently. The music on Where I Could Go is varied, about half Asturian or Borja's own compositions, and the other half a mix of Irish, Breton, Balkan and even Swedish. It's all led by first class pipes and flute - I slightly prefer the piping, both Irish and Asturian, but the flute is expressive particularly on the slower pieces. There's one song, a fiery Asturian ballad with a modern acoustic arrangement.

The Asturian jotas, fandangos and saltóns are a delight, jaunty and exciting. The Breton tunes are as authentic and inscrutable as you could wish. The Pretty Girls Of Mayo and Alice's Reel could be from the heart of Galway city, slightly funky but totally trad. Sweden's contribution I Bokskogen is simply beautiful on fiddle and flute, while the swirling Gankino Horo is not the only reminder of Davy Spillane's music here. Baragaño's own tunes are a mix of McGoldrick reels and jigs, Spanish piping pieces such as Last Frost, and the seductive waltz Marga's BEST Moment. The title track comes last and is a surprisingly gentle air on unaccompanied flute, sweet and resonant. This recording ranks alongside the music of Tejedor and Llan de Cubel in quality and exoticism - give it a listen on Borja's website. 

Alex Monaghan

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This album was reviewed in Issue 108 of The Living Tradition magazine.