Folk and Roots presents 'Monday Monday', a night of the best of the folk and roots scene which will be held on the first Monday of the month in central London as from October 2009. See 
As soon as this disc enters the player you just know you’re in for a real treat: a rip-roaring set of tunes (a hornpipe and two jigs) led off by Mike Katz’s signature spirited pipes and spurred on by superbly crisply registered rhythms from guitarist Sean O’Donnell with further excellent support from Alasdair White and new recruit Ewen Henderson. Ewen, whose armoury comprises fiddle, whistle, pipes and piano, is a real find, for he ideally complements the comparable talents of Battlefield’s established multi-instrumentalist Alasdair (fiddle, whistle, cittern and mandolin). David Kidman
Artist: Battlefield Band
With extensive sleeve notes, the listener is invited to ponder over the reasons, whys and wherefores of how gold has figured in our lives, from the little band that cuts off our circulation, metaphorically and literally, to the definitive symbol of ultimate greed. Alan Reid's ‘Robber Barons’, the first single release from this collection, compares for instance, the greed of yesterday to that of today and argues that not much has changed since the Middle Ages. The purpose of the cover photograph of a cigar-chewing tycoon at the poker table becomes abundantly clear as the songs reveal our inherent obsession with this most sought after bling.
In ‘Uamh An Oir (Cave of Gold)’, Allan MacDonald makes a guest appearance accompanying himself on small pipes and singing a beautiful air in Scottish Gaelic, which segues into Mike Katz's plaintive ‘Zama Zama Boys’, accompanying himself on the Highland Pipes. The Zama Zama Boys (Zama Zama translated from the Zulu for 'try your luck') refers to illegal gold miners working in impossible conditions north of Johannesburg and whose endeavours eventually cost them their lives, when disaster inevitably strikes.
Battlefield Band always like to surprise us; who could forget their reworking of the old Creedence Clearwater Revival classic ‘Bad Moon Rising?’ On this album, Nina Simone's ‘Plain Gold Ring’ is given the Battlefield treatment and re-assesses the song, using it in the overall context of the album, as another sign of the power of gold, and not just a song of unrequited love. The album when all said and done has the potential to be recognised as the Celtic soundtrack for our current economic downturn and financial Armageddon .
If the Reverend Willie G was ever in search of a Highland Piper to join ZZ Top, he would need look no further than Battlefield's Mike Katz who would fit quite nicely into the hot rod scene aesthetically if not quite musically. Mike's assortment of whistles and pipes help to give Battlefield Band their distinctive sound and nowhere better on the instrumental pieces throughout the album, such as ‘The Mines of Golkonda’, ‘Black Ruairidh's’ and ‘The Pretty Apron’, the closing track, which incidentally features a tune called ‘The Flirting Brown Maid’, the chords of which suggest ‘Purple Haze’ of all things. Now there's a thought, Battlefield plays Hendrix. Wouldn't put it past 'em.
ZAMA ZAMA TRY YOUR LUCK is a timely release, which should provoke at least a moment or two of reflective thought, whilst at the same time, stimulate our musical senses.
One thing you can never accuse the Battlefield Band of…and that’s playing it safe. Let’s take for instance the opening few bars of the ‘bluesy’ “Dookin’ For Beetroot/The Head Rooster’ where the ominous piano riff is picked up by guitar chops and whistle then the lead fiddle melody. Add to this mix the texture of practice chanter and finally the full-blown war pipes and you have a serious case of a band going into musical meltdown - in the best possible way. On another set ‘Oh, I Am A Forlorn Man’, Mike Katz (pipes), Alan Reid (keyboards), Alasdair White (fiddle) and new boy Sean O’Donnell (guitar) are joined by the near legendary Mike Whellans on mouth organ. Now, before you think that is going over the top let’s not forget that Mr Whellans was an original member of Boys Of The Lough! As always the lads provide a finely honed combination of traditional and contemporary music including an old/new version (see their sleevenotes for details) of Burn’s classic “My Luv’s Like A Red Red Rose”. This cavalier approach has of course endeared them to generations and looks likely to continue for many years to come. Excellent stuff – now pass me another malt.
Pete Fyfe
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Starting with a song I haven’t heard in years (not since Sweeny’s Men anyway) “Spencer The Rover” is set to a new tune written by Jonny and joined with some lively harmonic interplay between whistle and accordion. Driven along by passionate guitar rhythms and underpinned by double bass you’d be forgiven for thinking that the duo were a band. Both Vicki and Jonny are consummate professionals in their performance and this comes across in a delivery that is both assured and entertaining. From a personal point of view I would rather have seen some darker images created for the ‘Two Magicians’ (perhaps a modal key change for dramatic effect) as the song lasts for just over five minutes but that’s just a minor quibble. As technicians, musically speaking, you can’t fault this dynamic duo and I’m sure their appearances at many clubs and festivals will see them gain a loyal fan base. Pete Fyfe
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I had the pleasure of hearing and watching this Nairn based duo the other day and was immediately impressed in the strength of their instrumental and vocal performance. There’s something very gritty about our Scottish cousins that makes you feel proud to be part of their heritage as I am. Be it from the triplet triggered ‘MacArthur Road’ courtesy of Boys Of The Lough’s Dave Richardson or the more melancholy beauty of Robert Burns ‘Westlin Winds’ this duo have what it takes to be that something extra special. I can’t wait for the full blown album that should hopefully be available in 2008. Return to the Reviews Contents Page
The album is sequenced carefully and intelligently. The title track kicks it all off with a purposeful, chunky riff that at first seems over-dominant and partially obscuring the words, even more so as the song progresses, but then think about it, the four-square beat also serves to reflect the militaristic theme, directly comparing the loyalties of soldiers on the front line with their brotherly duty. The next song, Bring Me News, resonates with added poignancy in the context of Brother, while The Wreckage naturally connects by continuing the theme (sadness at the loss of someone close) and at the same time bringing in the feel of oceanic ebb-and-flow that recurs in Jenna’s music as a bit of a trademark (tidemark?). This is then brilliantly evoked on the ensuing song Lundy Tide, the only song on the album for which Jenna didn’t write the lyrics (they were penned by her science teacher Martyn Hocking); even so, she provided the musical setting herself out of some chords Steve Knightley had shown her a few years back!
The album itself proceeds to rise and fall with the tides of emotion, and Blinded takes Jenna into the hitherto-uncharted territory of fear, anxiety and betrayal, underpinned by a sinister heartbeat-riff, the ominous and apprehensive mood continuing into Entwined, which heralds mixed feelings at the return of the loved one from Bring Me News. Maybe the folk-stories of Fellow Traveller and Soul Sellers and the career-path dilemma of No Escape don’t quite engage to the same extent, but the album picks up again for a timely revisit of Dawn Wave, the haunting and inspiring ode to freedom that Steve had originally sung on 2004’s Western Approaches collaboration, and Alive is a laudable attempt to write an honest love-song.
The closing track, Keep Me From The Cold, is an intensely felt entreaty, sung acappella to a gently throbbing drone. Here, as indeed throughout the album, is persuasive evidence of Jenna’s increasing vocal assurance. This is captured well by the bright and forward nature of the recording (a typically alert Knightley-Tucker production). Arguably too forward in places though, I felt, for although the musicianship of Jenna’s support crew is keen (Steve and Phil guesting, with Mark Tucker and Andy Tween providing the rhythm section), there were occasions when I felt Jenna’s writing demanded a more intimate, less commercial and rhythm-driven setting. Also, some production touches (like the over-much use of reverb on Keep Me From The Cold and hints of over-sibilance in the close-miking vocal compensation here and there) are a slight irritant.
But what’s most important is that Jenna’s developing artistic personality shines through abundantly, and the ongoing fine-tuning of her craft is clearly bringing serious dividends. Jenna says that with Brother she wanted to make an album that stayed true to the way the songs are performed live – and you can judge for yourself whether she’s achieved that if you can catch her while supporting Steve Knightley on his own current solo tour, which stretches up to the end of February.
David Kidman
Jenna Witts is a young North Devon based Singer Songwriter who was discovered by Steve Knightley (of Show of Hands) a few short years ago, has co-written a song for the Show of Hands 'Country Life' (Seven Days) and toured with Steve Knightley and Seth Lakeman on the Western Approaches project tour. Return to the Reviews Contents Page
A young band who will gain a following for their cross De Dannan/Altan/Patrick Street style of performance. Plenty of feisty jigs and reels played with aplomb topped by Norah Rendell’s vocals on a mix of traditional and contemporary songs including a more than decent cover of Mick Hanley’s “A Kiss In The Morning Early”. This quintet should earn a legion of Celtic music fans. www.theoutsidetrack.com
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Battlefield Band – LINE-UP (Temple COMD. 2104)
At times it might be quite hard to distinguish just who’s playing which melody line and on which instrument, but I’m sure those of us not fortunate to have experienced the new lineup on tour yet will soon get used to the individual playing styles. For the moment, suffice to say that Ewen brings a whole new dimension to the band, for the ensemble sound, although still commendably full and inventively busy, seems more airy and spacious somehow and newly invigorated (not that this band was ever in danger of growing stale, I hasten to add). At the same time, while all the band’s traditional Scottish elements are still present and correct, with some great tune-sets that on occasion sound all too effortlessly “easy peasy” but must be so tricky to play, the new blood enables the band to push the envelope with a more personal kind of expansion of the choice of songs that’s largely courtesy of Ewen. For instance, Ewen’s persuaded the band to tackle an Otis Redding cover, That’s How Strong My Love Is (bet you’d never expected to hear that on a Battlefield album!), which Sean truly makes his own by revealing its Burns-like romantic aspect and incorporating a verse from The Water Is Wide – and it works too! Ewen also treats us to a gritty snatch of mouth music (The Pompous Trousers) that bookends a spicy pair of jigs, while his even-toned singing is also most attractive on his own depiction of his native North Argyll and Fort William area, Mo Ghleannan Taobh Loch Liobhainn. Two of the album’s highlights are sung by Sean – a very fine rendition of Sean Mone’s subtly stirring anthem Lovers And Friends, and a well-judged account of The Lily And The Rose (which Sean found in a volume of songs collected in Ulster). What I find marginally less convincing, though, is his take on Burns’ beautiful Song Composed In August (aka Westlin Winds), which like the succeeding track (an air, Iain Ghlinn’ Cuaich), keeps the focus arguably too close on the piano part.
The uptempo instrumental tracks all come off well: the Great White Herring set also incidentally shows off Mike’s skills as a guitarist (one take – honest! proudly proclaims the liner note), while The Pits set finds the band back in their customary role of fiery style gurus of dance with a suitably sparky combination of quicksteps, reel and strathspey. As an added incentive, a bonus track is downloadable from the Temple Records website. All in all, Line-Up, while retaining all the usual Battlefield charisma, also heralds a thoughtful new chapter in the band’s impressively long and rewarding career.
Album: Zama Zama Try Your Luck
Label: Temple
Tracks: 14
Website: www.battlefieldband.co.uk
For thirty years now Battlefield Band have been making their own distinctive blend of Scottish traditional and Celtic music and have released almost as many albums in that time. Now pretty much settled into their current line up of founder member Alan Reid together with Highland piper Mike Katz, fiddle player Alasdair White and guitarist Sean O'Donnell, we are once again dazzled by the band's intuitive playing and thought provoking lyrics. Their new release ZAMA ZAMA TRY YOUR LUCK probably has the most curious title of all Battlefield albums to date, but once you take a closer look and lend an attentive ear, it all becomes much clearer.
BATTLEFIELD BAND – Dookin’ (Temple Records COMD2100)
Vicki Swan & Jonny Dyer – Sliptease (Wildgoose Studios WGS 343 CD)
www.smallpiper.co.uk
Mike and Ali Vass – The Duets ep ((MAVCD01)
www.mikevass.com
Pete Fyfe
Jenna – Brother (Hands On Music HMCD.31)
This charismatic North Devon songwriter (and protegée of Show Of Hands), now in her twenties (just!), has evidently thought long and hard before releasing her followup album to 2007’s more-than-promising Barefoot And Eager, taking further guidance from her mentors and peers. Barefoot’s telling maturity of expression is even more a feature of Brother, both in terms of her singing (which was already significantly accomplished) and her songwriting. The latter, although still very much free-spirited and fresh and largely embodying similar thematic preoccupations to before (freedom, life, love and loss), is now more deeply informed by her own personal development since that debut, especially in terms of increased life-experience.
Jenna Witts - Barefoot and Eager
Indeed Show of Hands have provided their services on this debut CD with Knightley producing and Beer recording as well as providing their many instrumental skills alongside Witt's guitar and piano playing. The album itself consists of 10 songs, seven of which are self penned, sitting alongside the traditional 'Flora' and covers of Knightley's own 'You're mine' and Pink Floyd's 'Wish you were here'.
Many of those songs composed by Witts reflect and are inspired by her native Devon, its seaside associated activities such as surfing alongside the emotions and experiences associated with it, indeed this theme is bought to the fore by the title track which is coincidently the opening song, neatly laying down the feel for the album as a whole, 'Barefoot and Eager' committing the experience of the individual surf to song. One of the things which really jumps out from the CD is the strength of the songwriting alongside the diversity which clearly lays down strong markers for the future, which sit very well alongside Witt's interpretation of the traditional 'Flora' and the two tracks which are covers (Knightley's 'You're Mine' and Pink Floyd's 'Wish you were here'.
Expect to hear more from Witt's over the next few years, on this evidence she certainly appears to be the more original and imaginative songwriters to have emerged in recent years..
For more details see www.myspace.com/jennadwitts or the www.showofhands.co.uk
The Outside Track – The Outside Track (Bedspring Music BOING 0701)
Pete Fyfe
GREENCARDS - Viridian
EMAIL lorikampa@dualtone.com OR lori@dualtone.com OR jwilliams@wma.com
www.dualtone.com OR myspace.com/thegreencards
Playing Time – 44:04
Warm, comforting and as smooth as suede, “Viridian” has shimmering music that is like rays of sunlight reflecting from a serene lake on a breezy summer day. From Australia and Great Britain, the spunky trio that now makes their home in Nashville (via Austin, Tx.) previously released two albums and toured with Bob Dylan and Willie Nelson in the 2000s. More than emerging troubadours, the mysterious and fascinating Greencards have arrived with an electrifying neotraditional alt-folk sound. They used to be more rooted in bluegrass, but their music is evolving into their very own sumptuous contemporary Americana styling. Perhaps that is why they call the album “Viridian,” a durable bluish-green pigment. Because the trio has endured, they also display added cohesion these days.
Nominated by CMA Australia for “Best Female Vocalist,” Carol Young has a torchy voice with seductive charm. She also plays electric bass. “River of Sand” and “I Don’t Want To Lose You” are mesmerizing and crowning moments on this album. From Adelaide, Kym Warner has won four consecutive Australian mandolin championships from 1994-1997. He also plays bouzouki on this project. Warner’s “All The Way From Italy” documents his family’s emigration from Italy to Australia. From London, red-headed fiddler Eamon McLoughlin was classically trained at London’s Royal School of Music and has toured with the Austin Lounge Lizards. McLoughlin based “When I Was In Love With You” on a English poem by A.E. Housman, and the song melds punk-era simplicity with the magic of classic folk traditionalism. Capturing their band’s lineage and inspirations, original instrumentals “Su Prabhat” and “Mucky the Duck” trace roots and evolution of their band’s signature sound through Celtic, old-time and newgrass genealogy.
Growing up on American roots music from Lefty to Loretta, these exuberant young folks decided to follow their muse to the U.S. where they have been able to further develop and harness the melodies, lyrics, harmony, dissonance and spirit that just needed an outlet for release. The band is joined by guests Doug Lancio, Bryan Sutton, Larry Attamanuik, Jedd Hughes, Andrea Zonn, and Viktor Krauss. Chris Carmichael arranged the string quartet.
The Greencards’ music is deliriously fun …. bright, brisk and full of brilliant musical vignettes. Their stirring original material is smart and introspective. Memories and emotions are interwoven with fantasies, observations, and interludes. Written by Kym Warner and Jerry Salley, “Lonesome Side of Town” shows that they haven’t forgotten the rules and sideboards of straight-ahead bluegrass. “Shinin’ in the Dark” is another from both writers. The songcrafting of “Who Knows” included collaboration with Ronnie Bowman, and that number with a jamgrass groove asks a poignant question about what tomorrow holds. A hint is that “in harmony we find the answer.”
While always tasteful, drummer Larry Attamanuik’s beat could’ve been toned down a few decibels in the mix. With music that is rehearsed, flowing and expertly produced. The Greencards are carving out their own niche among listeners who enjoy a hybrid of styles and the fusion of classic folk balladry with a bluegrass consciousness.
Joe Ross
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Tom Kitching & Gren Bartley – Rushes (Fellside Recordings FECD202)
Some years ago Paul Adams sent me a recording of a then unknown duo (Spiers & Boden) and although perhaps not quite so striking as that recording this performance by fiddle player Kitching and guitarist songwriter Bartley does show promise. The backing appears to be a case of ragged but right (listen to the tracks “Young Love” or the double-stopped fiddle on “Long John”) which may be enough to capture a brash young audience but the generally melancholy feel to the album does leave me lost a bit.
www.tomandgren.co.uk
Pete Fyfe
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Mauvais Sort - Fittleworth Village Hall 13th July
Mauvais Sort are a Quebecois band I first saw at the Cambridge Folk Festival last year, and were one of the highlights for me. They never made it onto the main stage, but I’m sure it won’t be long before they’re invited back.
My memories of their performance are what drove me fifty miles to the little village of Fittleworth on one of the few nice days this summer. A village green in the last stages of a summer fair; people, children and dogs milling about. Old fashioned red telephone boxes, a rare sight in London and the sounds of music coming from the village hall.
There are six in the band, all dressed differently and entirely in black and red. I like that, a band with a theme, although I don’t know why the black and red. They all sing too. There are three at the back of the stage, marginally quieter than the others, and these are Guillaume Côté and Frédéric Drouin on drums and percussion, and Christian Jacques on bass. The three band members at the front steal the show for their stage presence, enthusiasm and sheer largesse, and these are Nicolas Geoffroy on guitar, mandolin, banjo and feet , Stéphanie Richard on accordion and Patrick Giroux on violin and mandolin.
I know nothing about Quebec folk music, and it seems an odd way to spend an evening in Sussex, but it works. Initially disappointed to find tables and tables of older people the evening soon got going, with plenty of singing in both French and English, hand clapping and dancing. And not just the free form stuff people do when their feet are moved to dance, this was the proper ‘demonstrated by the band’ dance moves. Fantastic!
Nicolas, Patrick and Stéphanie share the frontline of the stage, and the chair in the middle too. They swap places and take it in turns to sit in the chair, playing and dancing with their feet at the same time. I couldn’t achieve one, never mind both, and they make it look effortless and enjoyable at the same time.
For that’s what this band are about to me. Fun, enjoyment, smiles and laughter. At the end of the evening it’s not so much your feet that ache from dancing, but your face that aches from grinning.
The music’s quite good too!
Claire Prior
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Breabach - Live at The Green Note, Tuesday 10th March 2009
There were forty two people in The Green Note tonight. I know because I counted them. With Breabach, the girl behind the bar and the girl on the door it made forty eight. Just as well really, because there was hardly room for anymore. Tucked away up Parkway, Camden, this little venue seems a million miles away from the busy tube station and the kind of people milling around its exits.
The Green Note has a small room at the front where meals are served, and a curtain through to the room at the back where the stage [although it’s more like a dais] and bar are. Lined with long refectory style tables and beer barrels as stools, customers milled around, happy chatting with friends, staff and band members alike.
Breabach are from Scotland, and it’s a delight to see them this far south. Patsy Reid plays fiddle, Ewan Robertson guitar, Donal Brown pipes, whistles and step dancing, and Calum MacCrimmon pipes whistles and whatever else is around , it seems. But no step dancing, at least not yet….
Donal was away on baby duty tonight, leaving James Mackenzie from the Isle of Lewis to fill his shoes, a job he did admirably as the band played songs from ‘The Big Spree’ like the sing-along ‘Rolling Hills’, as well as newer tunes like ‘Goats and Kilts’- a taut whistle and flute introduction leading into some beautifully blended harmonies before Calum’s pipes took it to another level.
There’s something rousing about hearing the pipes. Something that makes even southern softies let out a cheer when the drones start. Sitting in a pub in north London on a Tuesday night in spring I could well imagine the mountains, the burns, and the Highland clans roused to war by the sound of the pipes. A guy at the front got up to dance at this point. Not to demonstrate his step dancing to this tiny audience, or because he wanted to show off, just because he found it impossible to sit still any longer with the pipes playing.
Breabach play like a band that’ve been together for ages, but manage to appear as if they’ve just met in a session. Maybe that’s what gives them their passion and their fire, their kick From Patsy Reid’s beautiful voice on the Allan Taylor song ‘The Morning Lies Heavy On Me’, to the versions of ‘Last Tango in Harris’ and Adam Sutherland’s foot stomping ‘No More Cages’ this band stormed The Green Note and held the audience captive.
Breabach – The Big Spree (Vertical Records VERTCD081)
The Tannahill Weavers and The Battlefield Band have a lot to answer for when it comes to enforcing the signature of Scottish ‘folk’ bands. OK, so having established the path taken by the quartet Breabach I’m personally pleased to see that they have retained their roots with the explosion of war pipes, fiddle, whistle and guitar driven tunes. A warm smile will cross the faces of those of old enough to remember when tunes such as Merrily Danced The Quaker’s Wife were king and the inclusion of the more melancholy Matt McGinn song “Rolling Hills Of The Borders” and the traditional “Lochaber No More” will please those of a gentler persuasion.
www.breabach.com
Pete Fyfe
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Scott Matthews iTunes Festival Thursday 12th July
The iTunes Festival runs for a month at London’s Institute of Contemporary Arts, and I could happily have gone every night to see some band or other. Ash, Athlete, Paul McCartney, Mika, Editors, Kasabian, Amy Winehouse, Crowded House and Travis; and these are only some of the bands, a small sample of what was on offer. The ICA, as its known, has an art gallery, a bar, somewhere to eat, and a lovely 350 capacity venue. I’ve not been there for a horrifying amount of time- something like 20 years- and I don’t why, as it’s a great place to go. High ceilings, good visibility and great sound, painted all black and with no noisy bar in the corner, it worked for me. It worked for Scott Matthews too.
When he first came on I thought he was one of the techs, checking the sound. Young, serious, and dressed in black, he quietly arrived and started a slow acoustic build on his guitar, and gradually the audience realised what was happening and fell silent. Unassuming, understated and undeniably brave to start a gig in this fashion, the song reached its crescendo and ended to enthusiastic applause.
He was then joined by a cellist for the next song, a guy with an expressive face and dreadlocks who would have looked equally at home on stage with Nizlopi, before the arrival of the remainder of the string quartet, two violinists who looked liked they’d walked straight from rehearsals with the London Philharmonic, and a viola player who’d joined them on the way from the Globe. They gave the evening a different slant, a much quieter acoustic style to the evening which seemed to come as a surprise to the audience. However, they were for the most part a good natured, educated appreciative bunch and took it in their stride when Scott announced he wanted to try some different stuff to the album. And the sight of five music stands and a string quartet was probably not what must of the audience had anticipated when they left home that evening.
Scott played most of his album ‘Passing Stranger’; from the Indian overtones of ‘Dream Song’ to the rich, warm, dark chocolatey vocals of ‘Fool’s Fooling Himself’.
He performs in passive way, standing still and serene with little facial expression but with such an emotive voice that the hairs stand up on the back of your neck. He seemed delighted to meet such rapturous applause at the end of the evening, and surprised to be asked back for an encore. Eventually he decided to play ‘The Boy With The Thorn In His Side’, apparently unable to remember any of his own songs.
A fitting end to a lovely evening.
Claire Prior
See www.scottmatthewsmusic.co.uk
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Last Orders – Last Orders (Fellside Recordings FECD207)
With an average age of 18, this quartet of musicians who all came together via the North-East based Folkestra give a strongly assured performance with heavily punctuated rhythms and soulful playing. Joined by the wonderfully sweet-toned vocals of 16 year old Maz O’Connor on a couple of songs and judging by their youthful enthusiasm for the material they perform (they even know where the tunes originated!) I hope the choice of title doesn’t end when the froth disappears.
www.myspace.com/lastordersfolk
Pete Fyfe
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LYRA CELTICA Monday, May 21, 2007In case you were wondering, Lyra Celtica is not a brand of indigenous Scottish sportswear, but a vehicle for the virtuoso accordian playing of one time BBC Young Traditional Musician of the Year, Lynn Tocker. Accompanied by Frankie McGuire on a variety of percussion and whistles and Mark Canning on guitar, Lynn showed her credentials as a brilliant piano accordion player throughout two superb sets tonight at Bob Chiswicks' Monday Music Club.
As something of a wannabe guitar player myself, I could just about see what Mark was doing, albeit that bit faster than I can manage, and as a child, equipped with mums knitting needles and the arm of the sofa, I had a good idea what drumming was all about, but the piano accordion to me is a total enigma. I had no idea tonight what Lynn was doing, but it sure sounded good.
Lynn cut her teeth on the instrument from the tender age of nine and worked with a whole bunch of extraordinary musicians in her home of Northumberland. Being exposed to the likes of Willie Taylor, Joe Hutton and Will Atkinson, as well as being a member of Kathryn Tickell's band did no harm for the young musician, nor did her triumph in 1987 when she won her prestigious BBC award.
Tonight the trio were on good form and played two excellent sets to a small and quiet but appreciative audience. Bare footed, Lynn switched from dazzlingly raucous jigs and reels (Scottish, Irish and French Canadian or somewhere closer to home) to emotive and tender ballads, during which she lovingly laid her head upon her instrument, in a gesture of complete tenderness. Well, Jimi Hendrix used to sleep with his guitar didn't he?
Floating from Skerry, a beautiful composition with a beautiful title, comes from the less than beautiful experience of a fifteen year old's boat trip to Shetland with a stinking hangover, such is the manner in which tunes come to the head of Lynn Tocker. I didn't get much of a chance to speak to Lynn tonight, but her stage persona suggests she's an absolute darling.
Frankie McGuire drives the sound along alternating between bodhran, bongos and jembe, as well as providing sensitive low whistle and penny whistle accompaniment. I was looking at all the strange percussion instruments at Frankie's feet and noticed one that looked remarkably like a screwdriver. I was looking forward to hearing what sound it made, only to discover later, that it was indeed just a screwdriver, presumably for tweaking the drums! Frankie is also a fine singer of ballads and The Queen of Argyle was one of the highlights of the set. The band also premiered a new song called When I Go, with its potent Native American imagery.
I wasn't expecting to enjoy this band as much as I did. The years of listening to instrumental Celtic music from the Bothy Band, Planxty, Moving Hearts, Clannad, Capercaille and an endless list of pretenders may have taken it's toll on my sensibilities, but up close and very definitely live, who could not enjoy it, really?
Allan Wilkinson www.myspace.com/northernsky2005
For more information see www.lyra-celtica.co.uk
To book Lyra Celtica contact lynne@amandalynnemusic.com
Tel 01270 628041 Mobile 077 900 82523
Amandalynne Music,
68 The Beeches, Nantwich, CW5 5YP
www.myspace.com/amandalynnemusic
New site up mid-August www.amandalynnemusic.com
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Deborah Henson-Conant – Invention & Alchemy (Golden Cage Music GC-06-002-CD)/Invention & Alchemy DVD (Golden Cage Music GC-06-001-DVD)/Artist’s Proof:Phase 2 (Golden Cage Music GC-03-013-CDX)/’Round The Corner (Golden Cage Music GC-87-002-CD)/Talking Hands (GRP Records GRD-9636)
Having studied and performed classical music from the age of 12, Deborah Henson-Conant has exploited the harp more than any other musician I can think of. Dispelling the myth that this beautiful, sweet-toned instrument should be thought of only in terms as background music for the purposes of sipping tea in an elegant restaurant or an interesting diversion in an orchestra are soon replaced with a sense of wonder at what the instrument is actually capable of. OK, so Henson-Conant pays lip service to the requisite ‘popular’ standards “Take Five”, “Over The Rainbow” and “Summertime” on her 1987 recording ‘Round The Corner but even then there’s a sassiness that makes you feel something is brewing. By 1991 on her album Talking Hands she is totally in control with a fusion of Latin jazz that would put a smile as wide as the Grand Canyon on the face of Carmen Miranda. Jumping ahead to 2003’s Artist’s Proof and she has found her voice (literally) opening with a gutsy “Dance The Way You Dance” proving that she’s no shrinking violet…in fact, this lady has balls! Confidence manifests itself in many ways…with Deborah it’s an exuberance that on her latest recording Invention & Alchemy explodes when she’s on stage joined by the Grand Rapids Symphony Orchestra. Much like the sorely missed Burl Ives, Deborah is an engaging raconteur who can conjure pictures vividly in your imagination with introductions regaling the audience like some modern day troubadour. Visually (check out the DVD also titled Invention & Alchemy), she cuts a striking figure in spangly-top, mini-skirt and cowboy boots using her garish blue clarsach as a kind of sexy extension. As I said, not for the faint-hearted folkie but for those who like their music with a bit more poke. Finally a word of congratulations must go to the outstanding publicity package compiled by Michael Belcher. It really makes a journalists job a pleasure when the artist is this well represented – artists take note.
www.hipharp.com
Pete Fyfej
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Fran Rodgers - I fell to you under winter sun
Debut 7" Single & Download
Released 16/07/07
Label - On The Bone Records
Well I'd say Fran Rodgers has not been a round for very long to be fair and after a few home brew releases and playing the usual folk circuits Leeds' label 'On The Bone' have put out her debut release and 'again' to be totally honest and fair I'd say………….IT'S A BELTER. Folk, Nu-Folk, Traditional Folk, etc, I'm not sure where it fits and who gives a good, God damn. Stunning vocals and production with a middle chorus that sounds like what you might hear at the end of the light. It will have the hair on the listeners' neck standing on end for many moons. B-side's 'to long no more' and 'she dwelt among th'untrodden ways' (Which lyrics are borrowed from Wordsworth) tie up this single release in a knot which seals its true worth as debut from a real true talent. Watch out for this one.
John Lowe
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Josh Pyke Brighton Tuesday 5th June
Josh Pyke is an Australian singer songwriter who played in front of just twenty people at the Brighton Barfly on Tuesday. It’s always strange when a venue is so empty; there were almost as many door and bar staff as there were customers.
Still, Josh gave it his best shot. His songs were a curious blend of folk/pop and varied between the two styles all evening. Very reminiscent of Crowded House in places, with some lovely harmonies going on in ‘Beg Your Pardon’
However, I found this acoustic stuff worked less well live than the full band sound. ‘Goldmine’ and ‘Private Education’ [the new single] were much rockier, with drums, guitar and fiddle. There were four guys in the band, playing an assortment of drums, banjo, electric bass, guitar, fiddle, and computer aided percussion.
For the most part the sound was fairly terrible, but maybe to a degree this is to be expected in a venue of this size and shape with such a small audience. It was a shame, as it did mar what had the potential to be a really good live show.
Interested enough to buy his album? Yes, and I would have, except the tiny stall only sold bags and t shirts, neither of which I was ready for! A missed opportunity for the merchandising department.
Josh Pyke seemed in many ways to be bigger than he turned out to be, in sound, presentation, and marketing. Maybe it’s a premonition? Time will tell…
Claire Prior
See www.joshpyke.com for further details.
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Dalla – Rooz (Dalla Records DACD 04)
The opening track “Young Man Of Cornwall” conjures up images of the Wicker Man soundtrack with Hilary Coleman and Bec Applebee’s distinctive harmony vocals and Neil Davey’s dramatic chordal fiddle accompaniment proving a great start to a great album. At times, sounding not unlike the much missed Pyewackett particularly when joined by the gutsy tones of the clarinets Dalla’s music has a dervish quality that will grab the listener by the throat. This trio don’t hold back when it comes to waulking style songs and the unusual inclusion of rock smashing has to be a first. By the way check out the superlative mandolin playing by Neil on The King Of Sweden – astonishing!
www.dalla.co.uk
Pete Fyfe
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6 day Riot - Live at the Spitz - 13th June 2007
6 day Riot at the Spitz. No, not a headline from an East End rag, but one of the most exciting bands I’ve seen for a while performing at the lovely Spitz, one of those trendy art gallery/restaurant/clubs on the site of Spitalfields market. The place had been quiet, almost deserted for the first two acts; a pianist, and the truly awful Cerise, and yet as 6 day Riot appeared the numbers grew, photographers arrived from nowhere, and the audience hardly needed encouragement from the band to move closer to the stage, all signs that the word was out about this band.
When this band first found me on Myspace, I clicked on the link dubiously, as the name conjures up something Emo like. I was expecting Funeral for a Friend, and instead got Crooked Still/Altered Images/Nizlopi. And it works. They sound great.
6 day riot began when Danish multi-instrumentalist Søren Burke met Scottish former gymnast and fashion student Tamara Schlesinger, now a singer song writer, at a gig in 2004. She asked him to play guitar on her solo album, and they started writing songs together. Joined by Jonathan Beyer on upright bass and Daniel Deavin on drums the live sound has unified into a glorious mix of sounds, and the band has now recorded their first album.
They have a lovely manner with the audience, a gentle way that gets responses, and style all their own. Both Jonathan and Søren in shirts and waistcoats, Daniel in an orange shirt, braces, and a pork pie hat , looking like he’d just left Babyshambles, and Tamara looking stunning in that slightly kooky way that either looks amazing or very very wrong. And Tamara looked amazing. She reminded me of Audrey Hepburn. Audrey Hepburn in a little black dress with a floaty layered skirt, a diamante collar and belt, footless tights and black high heels with her Hair pinned up under a small black hat trimmed with netting and perched jauntily at an angle. Audrey Hepburn playing a ukulele!
Their songs vary between folk, blue grass and pop, and it’s easy to hear Eastern European influences too. Søren and Tamara’s voices blend beautifully, a swirl of deliciously sweet harmonies that weaver their way between the steady rhythms of the songs. These are tunes that you sing as you leave the venue and are still in your head when you wake the following morning, their light sound, happy melodies and gentle rhythms infectious and happy.
And if further proof were needed that this is an exciting band on the threshold of bigger things, the audience left when the band did, unwilling or unable to risk spoiling their evening by waiting for the headline act. Perfect.
Claire Prior
See www.6dayriot.co.uk for further details.
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Andy Findon – When The Boat Comes In (AMF 01)
I’ve rarely bought an album on the strength of one track but Andy Findon’s title track does it for me every time. If you loved the evocative mini version of When The Boat Comes In as used for the Young’s Sea Food advert then you’ll doubtless enjoy this extended version. But, I’m pleased to report this is no one-hit wonder as there are many tracks for the ‘folk’ musician to enjoy including a jaunty Percy Grainger interpretation of the traditional “Molly On The Shore” (evoking memories of arrangements by Andy’s old band The Home Service) and casting his net further he manages to include everything from “Ave Maria”, “Theme From Poirot”, “Sabre Dance” and even “Stairway To Heaven”. This album proves nothing if eclectic and the proverbial breath of fresh air…whistle and flute induced of course!
www.andyfindon.com
PETE FYFE
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GAIL WADE – Journey
www.gailwade.net
Playing Time – 42:35
Being an eclectic musician with many interests can help a versatile performer land many engagements, but it can also make an artist difficult to categorize. No matter because who needs categorization? Grounded as a singer/songwriter and guitarist, Gail Wade demonstrates comfort with folk, blues, jazz, and swing idioms. With regular performing during the past 25 years, I suspect that she’s built a considerable fanbase for her approach to music. She's sung on the Tall Ships in Maine, toured Europe as a member of “The Hot Flashes,” and completed and Irish tour with singer/songwriter Gary Ferguson (who harmonizes here with Gail on her self-penned song, “Harder Every Day”). On “Journey,” the core band includes Gail Wade (lead & harmony vocals, guitar, clawhammer banjo), Peggy Ann Harvey (fiddle, flute, sax, harmonica), Kevin Lynch (mandolin, lead guitar, National steel guitar), and John Urbanik (string bass). On one track apiece, she’s joined by Stephan Wade (lead guitar), Ian Wade (percussion), and Gary Ferguson (harmony vocal).
“Journey” will launch Wade to new heights as more folks discover her earthy and enchanting material. Her relaxed and seamless set offers plenty of intelligently thoughtful sentiment. Wade opens with an interesting rendition of “Ain’t Misbehavin’,” with some countering sax riffs that impart a personality of their own. Other covers come from Roseanne Cash/John Levanthal, Deborah Hornblow, Pam Gadd, Richard Torrance/John Haeny, and Mark Irwin/Irene Kelley. Her scat in “Rio De Janeiro Blue” shows another way that she embellishes a song, and my guess is that learned this song from Nicolette Larson’s cover of it in the 1980s. The banjo and flute in “Will You Remember Me?” give that piece a haunting old-time, almost Celtic, flavor. With a more erudite, poetic approach to songwriting than Wade’s more direct style, Deborah Hornblow’s “Winter” is a beautiful love song that requires contemplation. Gail’s rendition of bluegrass songwriter Pam Gadd’s “All the Old Men are Gone” is quite different than the version I’ve heard Doyle Lawson & Quicksilver do.
Most impressively, Gail Wade wrote six of the songs on “Journey.” Lyrics aren’t included in the CD jacket, and I hope she’ll find a way to upload them on-line. To analyze her skill development as a tunesmith, I started with her blues at track #8, “Hurry Home Daddy,” that Gail wrote way back in 1980. It’s rather standard fare, enhanced by Harvey’s harmonica and Lynch’s guitar. Written between 2000-2004, Wade’s other originals have thoughtfully flowing melodic twists and lyrical turns. I appreciate songs that are straight-forward, conversational, and that have a beginning, middle and end. Such is the case with songs like “Try it On for Size,” Harder Every Day,” and the spiritually-tinged title track, “Journey.” Her messages are clear and sincere. A ballad like “Anna’s Owl” has lyrics that set a stage, pull us into the story, grab our attention and hold it until the song’s conclusion. Gail’s bouncy instrumental “Down the Kennebec” conjures imagery of river rafting in Maine.
Similar to Karla Bonoff’s singing, Gail Wade’s alluring voice is silky smooth, and her folk/blues-based repertoire makes for an enchanting listen, especially at dusk when in a reflective mood. I’d like to hear Gail sing some more duets with a male voice. Perhaps a song like “That’s How You Know” (recorded as a duet by Steve Wariner and Nicolette Larson) would work for her and Gary Ferguson. I wonder if Gail has ever had any interest in singing solid roadhouse R&B. That type of production could convince a major label that she’s more than just a versatile folkie with a sweet voice. No matter what direction she takes, I’m certain that major recognition and success are just on the horizon for Gail Wade.
Joe Ross
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SCOLDS BRIDLE & DAVE WALMISLEY – Gregson Lane Folk Club 7th June.
It was one of those last minute panic things – every organiser’s nightmare! Our regulars were expecting an evening with Jon Brindley who, due to a very nasty dose of Chickenpox (Hope your feeling better when you read this Jon!) had to cancel with only four days to go.
The question was – who could fill this slot and satisfy the audiences high expectations’ not only of excellent music but with some warm entertaining chat as well.
My first thought was Scolds Bridle – Having had them at the club and at Worden Arts Centre before, I knew that they were extremely good and if they were available, I could guarantee a first class evening that would not only delight our regulars but would also appeal to those who may have travelled a distance to see Jon.
We’d had a bad couple of weeks at Gregson Lane due to the fact that some thieves had walked off with our PA speakers and bass amplifier. So you can imagine how relieved I was when Sue Bousfield said that Scolds Bridle (she and Liz Moore) were free on the night and would be delighted to come and play for us.
I was feeling quite pleased with myself for pulling off this 'coup' at the last minute – Scolds Bridle booked and Trouble at’ Mill’s PA in place to ensure a great sound, I wasn’t expecting ‘Icing on the cake’ but I certainly got some. Liz & Sue arrived accompanied by Dave Walmisley (Ex Risky Business – now performing solo) and he walked up the stairs carrying his Martin guitar and mandolin – and obviously in the mood to perform.
We (T at’ M) started the evening off with a 15 minute spot which allowed the packed audience to get their drinks in and re-arrange the furniture.
Sue had said that Dave would like to do some on his own and that he would also be providing accompaniment on one or two of their songs. (Dave plays on Scolds Bridle’s latest album – ‘Horizons’ he also produced it – if you haven’t already got it, I suggest that you go to a Scolds Bridle Concert or to www.scoldsbridle.co.uk and get a copy right away.) I told them to just do what they thought would be right and run the rest of the evening’s proceedings between them. This turned out to be a good call – the whole evening then took on a festival type atmosphere – you know what I mean – if you could bottle it and re-produce it at will – you’d make a million.
Dave started the (now almost impromptu) show with a few of his own songs including ‘The Raven’, ‘When the Fat Lady Sings’and ‘Count on you’. I’d previously seen Dave with 'Risky Business' & about 15 or so years ago I’d seen him in a duo ‘PlanB’– performing at Preston Arts Centre as support to Ken Nicol in a concert that I had arranged. I knew that he was a first class instrumentalist and singer and I was keen to see how he would go down as a solo singer/songwriter. He was fabulous – the feedback I got from our audience was more than just positive it was an overwhelming vote for more in the future.
Then Sue and Liz took the stage – the Scolds Bridle magic started (most of us had seen them before and knew what to expect). The two ladies just stand for several moments and say nothing – Sue then slightly changes her facial expression and the crowd go into fits of laughter – I have to put this down to nothing but the charisma generated by this pair who have been wowing club and festival audiences for over 30 years. The way that they work together and feed off each other during the whole of their performance is the hallmark of a very professional partnership – after all they are both serious performers who can stand on their musical ability alone– the comedy is just a bonus.
The girls sang some old favourites – I particularly love their versions of ‘I’m tired of sleeping alone’ and ‘The OMO song’ plus some off the new album – ‘Horizons’ my personal favourites being ‘Sounds of the night’, ‘The Menopause’ and ‘Come home safely to me’. Every song that they perform has the whole audience spellbound – two voices in perfect harmony and superb guitar and bouzouki playing from Liz (must mention Sue’s Drum on one song because it’s easier to spell than ‘bouzouki). The also played some songs from their recent Radio 4 Show – ‘We are the Women’.
Like other folk clubs the tables at Gregson Lane are filled with flyers from all and sundry – Sue and Liz use these to their advantage when they sing Lynn Herauds’ 'The Menopause' – every women in the audience promptly followed Sue’s lead by picking up a flyer and using it to fan off a hot flush. (I thought that all our Gregson Lane ladies were well past that sort of thing GD)
As well as accompanying Sue and Liz, on several songs, Dave did some more on his own during the second half.
When James came up from the bar downstairs to say “It’s quarter past eleven please announce ‘last orders’” I don’t think that anyone in either crowd or on stage could believe how fast this evening of top class entertainment had gone.
In case anyone doesn’t know, a Scolds Bridle is a very useful device that shuts women up – I sincerely hope that no one ever decides to shut Sue and Liz up they are an absolute delight to see and hear – hopefully we will see them carry on for another 30 years. (“/I love this music and intend to keep singing and playing it until I get bored with it! And that will be never – (Liz Moore).
I’m glad to say that I have them booked at Worden on September 20th – Dave Walmisley is performing there on November 1^st and Jon Brindley (Hopefully his spots will have gone by then) is there on November 15th www.worden.ukart.com
See you there!
Keep music live!
Graham Dixon.
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Steve Knightley – LIVE IN SOMERSET (Hands On Music HMCD. 33)
Unbelievably, this is Steve’s debut live solo album – and it’s a cracker, for it encapsulates all facets of his consummate talent, both in the writing and performing arenas, in a definitive, and showstopping, parade of material that really does span the years. It was recorded at The David Hall (a 19th century former Congregational church) in the village of South Petherton, Somerset – an ideal acoustic space in which to capture Steve’s live presence, it turns out. In the space of 16 well-chosen tracks, several typically thoughtful covers and a handful of genuinely enterprising takes on traditional songs are interspersed amongst Steve’s own compositions, old favourites mingling with rarely-heard items and some in unfamiliar solo treatments that grant refreshing new perspectives. The proud extent of Steve’s all-round creativity is represented by a selection that presents anthemic narratives (Transported, Cousin Jack, Galway Farmer – the latter, unusually, done unaccompanied) alongside the passionately yearning Exile, the aching Coming Home, the timely revisit of a fine early song The Hook Of Love, and the wry commentary on society’s current trend towards the loss of “real” communication (Stop Copying Me). And yet some of the set’s very finest moments come with Steve’s fresh and highly personal takes on traditional song: notably a spectral Reynardine, and a strongly individual acappella rendition of All Things Are Quite Silent. The Oakham Poachers also receives a powerful and atmospheric reading; for this song (also for Dylan’s Girl From The North Country and an intriguingly well-fitting segué of Springsteen’s Downbound Train with his own Country Life) Steve brings onto the stage as special guests Philip Henry (dobro, harmonica) and Hannah Martin (fiddle), two young musicians who’d joined Show Of Hands on some dates of the duo’s autumn Spires And Beams tour. The gig encore is a suitably audience-friendly new Knightley love-song, Now You Know. Although I could be wrong about this, it feels like the concert sequence appears to have been manipulated a little for the home-listening experience (aside from the editing-out of some enthusiastic applause, that is); nonetheless, the brilliant recording certainly captures both the acute sense of occasion and the professional lightness of touch that Steve brings to his performance as a counterweight to his total devotion to his art.
David Kidman
Steve Knightley – TRACK OF WORDS - RETRACED (Hands On Music HMCD. 30)
Marking the tenth anniversary of Track Of Words, his first major solo project, this ace songwriter is revisiting the songs from that venture, very much in a “that was then, this is now” perspective. These songs were the product of a time of great personal upheaval for Steve, but their essentially intimate quality was masked by their eventual “production”, which deliberately distanced itself from the Show Of Hands sound of the time. With this Retraced outing, it’s almost like listening to a whole new batch of songs at times, so radically different are so many of these latest treatments. I recall going to see Steve perform the original Track Of Words show, an ambitious audio-visual feast accompanying his live performance of the songs; at the time, I rated it an interesting and valid experiment in the context of a new approach to staging and presenting the music, but I felt some of the songs were distinctly over-scored, an aspect also reflected in the actual 1999 album release to a certain extent. More crucially, however, in the intervening decade the songs from Track Of Words have fallen by the wayside somewhat and ended up as relatively little-known within the Knightley canon (except to cognoscenti of course!), and even marginalised into comparative obscurity some might say – a fate which they clearly do not deserve, for they contain some of Steve’s best writing IMHO.
So the present revisit has done them an excellent service, in bringing out their latent lyrical power and strength where these aspects had sometimes tended to become submerged beneath the often fulsome, relatively radio-friendly musical arrangements and bigger production feel of the original album. The songs’ new clothings are largely acoustic-based, but quite different in feel to what one might consider a stripped-down Show Of Hands approach, instead investing in fresh and uncluttered textures with the additional benefit of some occasionally unexpected instrumentation and colourings. The focus is still very much on Steve himself and his solid and impassioned vocal delivery, with some key ancillary contributions (from Messrs. Beer, Clifford et al.), but on many of the songs his chosen tempo is now more leisurely or more deliberate, and more conducive to conveying the committed observation of his lyrics now in finer, more readily savoured detail, while almost incidentally pointing up the (often underestimated) versatility and diversity of Steve’s writing. Rush Of Blood, for instance, which in its previous incarnation kinda rushed by (yep!), is now revealed as a desperate and considered piece of soul-searching, while Faith In You gains both momentum and even sharper credibility with its bright-eyed retro-bluesy shuffle gait. Face In The Frame is now a truly heartbreaking highlight of the collection. An antique piano lends an added poignancy to the title track, and a sassy trumpet part (courtesy of Jerri Hart) brings a curiously sensual feel to the acute fragility of Broken. That fine young singer Jenna duets memorably with Steve on a spellbinding new rendition of Caught In The Rain, and Running Away (Ahh!) is revealed as a structural forerunner for successes like Roots. The familiar sentiments of Cold Heart Of England still ring very true, and hit home even harder now they’re shorn of the production effects of the original recording and focus more on the plaintive slide guitar of guest Dave Wood. The bonus track, Rock You To Sleep (a co-write with Seth Lakeman), forms a useful adjunct to the train of thought running along the track of words. All in all, I’d say, Steve’s bold retracing of Track Of Words has turned out a real triumph.
www.showofhands.co.uk and www.myspace.com/steveknightleymusic
David Kidman
Steve Knightley - Cruel Riverwww.showofhands.co.uk
www.myspace.com/steveknightleymusic
Knightley is one half of Show of Hands and the principal songwriter for the acclaimed duo, here he has released his first solo for seven years to coincide with his first solo tour again for the same number of years. The album consists of nine songs newly composed by Knightley, a reworking of the SOH track 'Crooked Man' in order as Knighley put it himself to "really express my rage at the deceit that led us into the tragedy of this seemingly never ending foreign campaign", a cover of Gary Fjellgaard's 'Caragana Wind' and a bonus track - a live version of Mark Knopfler's 'Romeo and Juliet'.
For those who are familiar with Knightley's music and writing with Show of Hands you will not be disapointed (or unduly surprised) here, again you will be treated to Knightley's observations of West Country life, the stories of its people and their environments, 'Cruel River' being an example of the latter, a song based around the local tragic saying 'River of Dart, river of Dart, every year you claim a heart' and on a rather different note 'Transported', not as you might think concerned with a historical tale of injustice and transportation to a certain far away land, but a modern tale of West Country villainry and quick wits, again in both cases Knightley's ability to give the characters of his songs their own depth and to absorb you into the surroundings described is outstanding. Knightley's writing and interpretations go far beyond the West Country with songs such as 'All Quiet on the Western Front' with its succinct observations of England over the last twenty years or so which sits 'nicely' alongside 'Poppy day' a look at the role of the poppy plant in conjunction with the war on drugs and the invasion of Afghanistan.....
The CD opens with 'Raining Again' and Knightley's Cuatro driving rhythm to the fore, indeed whilst there are some guest musicians featured it is Knightley's playing on the Guitar, Cuatro, Mouth Organ and Mandocello which are rightly to the fore along with his stories. 'Cruel River' is an outstanding example of the strength of Knightley's songwriting both for its misleading simplicity and its diversity both in tempo and subject, like most of Knightley's material a number of listens are called for to really absorb some of the nuances and the characters involved although thats not to say it doesnt reach out and grab your attention within the first few chords of 'Raining Again', in short again, I for one hope it isnt another seven years before the follow up for this fine release materialises..
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Jerry Ashford, Beth McNamera, Joe RossMoonglow
Playing time: 49:44
Some of the best music ever comes from a different time and place; when the big band sounds captured the imagination of America and jazz and swing music were at the top of the charts and was king for many years. Moonglow music is from that era and these musicians have captured the very essence of that age with this latest CD.
"Moonglow," the song, was first released in 1934 and the group's arrangement on this one is what else-a flowing, dreamy love song from the big band era. The music takes a turn with the western swing sounds of the Asleep at the Wheel favorite "Miles of Texas" with Joe Ross singing the lead. Another highlight on the CD is the 1921 immensely popular and a bit whimsical hit song "The Sheik of Araby." On this one the fiddle and guitar interplay add the energy to the great vocals and even featuring a bass solo. Beth McNamara's lead vocal is captivating as she sings "I Don't Want to Set The Word On Fire" with a smooth delivery sure to start a flame in your heart. I also enjoyed the spicy arrangement of the Duke Ellington hit "It Don't Mean A Thing" with the arrangement pretty much the same way we've heard it for years but of course on acoustic string instruments.
In all the CD contains a generous 16 songs ranging from what I call show biz songs to swing, western swing, jazz and what some call gypsy music with some melodies soft and flowing and others bright and brassy.
Moonglow will entertain and delight most any fan of swing and jazz music and I expect this CD to do well for these fine musicians.
http://wwwcdbaby.com/joeross
Joe Ross - Bluegrass Alphabet
Joe, a multi talented musician and songwriter has written many very good songs, including all that are included in this CD.except 'My Bonnie.' He plays mandolin, bass, guitar, and on the final instrumental selection, plays keyboard. He is joined by many great musicians, including Al Brinkerhoff and Randy Kohrs on resonator guitar, Ron Stewart, guitar, banjo, Ben Green, banjo, Tim Crouch, Ron Stewart, fiddle, and others.
'Bluegrass Alphabet' by Joe Ross This CD can be purchased by ordering through CD Baby or email rossjoe@hormail.com
1...Bluegrass Alphabet
This song sets the mood for the entire CD as Joe goes
through the alphabet describing the qualities that make
up the music we love.
2...The Place Where I Was Born
A nostalgic look back at the homeplace, and a longing
to return, even if only in memory.
3...The Loneliest Season
This award songwriting award winning song captures
the feeling of a dreary winter day after losing the one
you love.
4...One Day Soon(The Sun Will Shine)
This gospel song reminds us that sometimes we have
heavy burdens, and the skies are dark, but through
faith we know the sun will again shine.
5...Down And Out,Sad And Lonely
A story of one who has fallen on hard times and needs
someone to help get him back on his feet.
6...My Desert Home
Joe has a way of describing the beauty of God's
creation, wherever one calls his or her home.
7...She Has A Gypsy Heart
This song, recorded by Joe's original bluegrass band,
speaks of a loss love because of a wandereing heart.
8...Canyon Of Sorrows
In a search of a better life, whether then, or now, many
difficult trails must be traveled over before our goal is
reached. This song reveals sorrows along the way.
9...God Has All The Answers
Joe's Christian upbringing is seen in this beautiful
rendition as he acknowledges that only God has all
of the answers . A song of faith.
10..You Can Make A Difference
Joe reminds each of us that it is the duty of each of us
to do whatever we can in order to maintain the beauty
of America's forests and streams.
11..Tomorrow's Yesterday
A beautiful rendition that reminds us our memories
grow dim day by day. Let's remember them for the
time we grow old.
12..My Bonnie
An old song played instrumentally with a touch of
Celtic, oriental, and western flavor. Instruments used
are keyboard, koto, and whistle.
J.D.Cannon
Joe Ross - Festival Time Again
http://www.cdbaby.com/jross3
http://www.talentondisplay.com/joerosshome.html
Song list: Festival Time Again, Blood Red Roses, Good Deeds, Hotqua Nights, Pitch Black by The Ton, My Home in Old Virginia, Desert Grave, Goldfield, Old Dan and Little Ann, Many A Blue Moon, Philosophy, Through Heaven’s Gate.
Joe Ross is a prolific music journalist based in Oregon with over 1,200 credited articles and reviews. He is also an accomplished multi-instrumentalist and songwriter and is also an “edutainer” with his “Roots of Bluegrass” and “Folk tales of Old Japan” presented with mandolin, guitar, banjo, concertina and hammered dulcimer. He also performs with The Celtic Tradition and in the Joe Ross Band with Beth McNamara, Jerry Ashford and Al Brinkerhoff.
With such a wide-ranging musical background, it’s not surprising that this album of original tunes has its roots in many styles. Some songs are strongly bluegrass, others have the Americana singer-songwriter flavor and the instrumentals have a life of their own. “Festival Time Again” may be Joe’s signature piece as he sings of the many delights to be found at a bluegrass festival. He’s joined by Randy Kohrs on dobro, Adam Haynes on fiddle, Ben Greene on banjo and Jerry McNeely on bass. Other stellar instrumentalists on the album include Bryan Bowers, Al Brinkerhoff, Tim Crouch, Ron Stewart, Radim Zenkl and Scott Vestal.
Joe’s a strong storyteller and he takes care to include glimpses into the lives of everyday heroes. “Pitch Black By The Ton” is a tribute to the Sago miners who died while working far underground, and “Desert Grave” honors the life and death of a sojourner where “the winds provide a eulogy and I provide a prayer.” Joe is joined by bluegrass great James King in a tribute to their common birthplace, “My Home in Old Virginia.” “Old Dan and Little Ann” is a retelling of the classic book, Where The Red Fern Grows, bluegrass style. “Philosophy” is a meandering look at life’s possibilities accompanied by koto, penny whistle, autoharp and “keys.” “HotQua Nights” is a Hot Club romp with the gypsy jazz rhythms spearheaded by Joe on hammered dulcimer. Joe Ross is a modern day troubadour with a bag of songs to delight and fascinate and listeners will be playing the songs over and over to catch the fine nuances of words and music.
(Brenda Hough hufstuff@oakapple.net)
Joe Ross - The Spirit of St. Louis
http://www.talentondisplay.com/joerosshome.html
Playing Time: 39:48
There’s a lot to like about this latest effort from Joe Ross. Eleven new original songs cover everything from stirring Gospel, to songs about logging, Mom, Oregon (where Joe calls home), love, even fowl, and, as the title implies, Charles Lindbergh’s epic flight across the Atlantic.
Al Brinkerhoff’s melodious resophonic guitar kicks things off very appealingly on the lively “The Logger’s Song,” vividly illustrating the life of an Oregon woodsman. “The River In Oregon” is a tribute to the rivers and tributaries, “the lifeblood of the land…please take care of them,” Joe writes in the liner notes. “One Legged Turkey,” a clever, upbeat instrumental, was written in memory of an actual wild turkey that hung around for a while on the roof of Joe’s home. “Mother’s Songs” is quite emotive; a beautiful piece that Joe says always choked him up as he sang it. Recorded with the fine Missouri band Cedar Hill, the cut features Mel Besher in a first-rate bluegrass tenor lead vocal backed by Lisa Ray on harmony vocal. The one traditional in the collection, “St. Anne’s Reel,” is lovely with Joe on hammered dulcimer and mandolin, Bryan Bowers on autoharp, and Radim Zenkl on pennywhistle. “The Church Bell No One Hears” and “His Hand Is Divine” are two very well-crafted Gospel pieces, the latter featuring some excellent fiddle work by Ronnie Stewart.
Again Joe composes in a nice array of styles…the very bluesy “Streamliner,” Calypso on “The River In Oregon,” and driving bluegrass. And as usual, he’s assembled a fine line up musicians quite equal to the task; the likes of Randy Kohrs, James King, Adam Haynes, Kevin Prater, Tim Crouch, and Scott Vestal contribute masterfully on various cuts. The word sure seems to have gotten out among his peers that Joe is a talent to be reckoned with; it’s more than about time this notion catches on with the listening public and bluegrass radio.
(Joe Falletta, Joezeke5@yahoo.com)
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Michael McGoldrick, John McCusker and John Doyle at the Mac Arts Centre, Birmingham May 12th 2007
So, the last of these three gigs, fuelled both by necessity and opportunity. I needed to see this trio perform, and at the last minute on Saturday realised I had no obligations, so after a quick cal to the Mac Arts centre, near Edgbaston, we were heading towards the M25. That terrible road can make all the difference to a journey north, but for once, it was traffic free and we arrived at the Mac in time to grab something to eat.
The venue was big, with a cinema, bar, café, shop, and two theatres. Although not formal in building style, it seemed so, with warnings about latecomers not being admitted, no drinks to be taken inside, and a clock outside the door of the theatre set to the time the show was going to finish No cameras or videos either! A very different kind of place to Hammersmith, although locals said it has a reputation for putting on good acts. I wasn’t about to disagree with that, as this was a well published well organised gig, and by 8pm everyone was in their seats waiting!
John McCusker, Mike McGoldrick and John Doyle walked on to much applause; this was a very appreciative audience who were behind this trio from the start. There was no support, so they played two sets with an interval. Billed as being a Mike McGoldrick trio, the split between the songs was similar to the first night I’d seen them, with half being Mike’s and the half split between the two Johns.
Having seen Mike McGoldrick play in other trios I’d been hesitant as to whether I would enjoy this combination of musicians as much, although I’ve always thought Michael a generous musician, allowing each member of his big band/trio/quartet the freedom to express themselves and to play solos within the set. I’ve seen him with the same core musicians, and the result has been wonderful. Natural organic sounds; soaring, uplifting and completely without face; traditional yet modern, a blend of influences.
Tonight was different, not in a better or worse way, just different. This trio was an equal split, a trinity of beautiful music. Each taking their turn to shine, to rise, supported subtly by the others, or, on occasion, while the others watched in awe as one with the audience. Each tune, no matter it’s source, fitting easily with the one before, so that the whole evening became a joyous flowing thing, whether it was ‘Under One Sky’, ‘Convenience Reel’ or ‘Trip to Pakistan’. ‘Teehan’s’ was just gorgeous, a slow rhythmic sensual tune that left me feeling a long way from a folk gig!
The audience was asked to applaud at the end for the cd that was being made by the sound guys …here’s to hoping it sees the light of day, either honestly or as a bootleg. I’d love a copy!
Claire Prior
See www.johnmccusker.demon.co.uk, www.johndoylemusic.com and www.capercaillie.co.uk/theband/michael for details.
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No Fixed Abode: ClearwaterCrossover- Celtic/folk -acoustic
When you are a Radio DJ, you could be having lunch sitting atop a telephone pole
and it's guaranteed that somebody will climb that pole and shove their CD in your
hand. They will then commence to spout some well-rehearsed chatter about how their
album is a cut above the rest and the world will stop if only you'd play it.
And you know something, that's okay. It's our job to listen, evaluate, and play the
music if it qualifies within that allusive, nondescript criteria we refer to
as "Taste." Naturally I refer to independent radio stations where airplay of a song is
based on merit and not some payola or marketing commandment.
But the sad truth is in the current scene, most of the music reflects artists
simply trying to clone themselves in the image of other successful bands. And this
redundancy spans all genres.
So, it is with pure elation that I write this review of No Fixed Abode's latest
CD, "Clearwater." From the first few notes of "What Did I Do" they had me. The song
launches into a rolling rhythm that has enough hooks at the start to catch a Great
White, followed by Una Walsh's Angelic vocal that insists you listen on. I was
instantly convinced that these folks were seasoned professionals and yes, a cut above.
The second song on the CD, "Kebab Crazed Nutter" slapped me back. I struggle for
the words here. This is the song that caused me to throw out any preconceived ideas I
was forming to fit what this band was all about. Here is a tune that I can only
describe as Celtic Gypsy. Actually, it fully breaks out of any definitions of any
genre. It takes you to a place only your imagination can go. Have a listen, you'll see
what I mean.
The fourth tune, "The Salty Sea Dog" Was a flowing, rolling tune that started to
reel the band back in to more traditional Celtic folk but somehow finds a new
refreshing way to summon the Celtic Soul. While listening I thought this would have
been a song John Denver would have sold his soul to record.
When the tune "Sunne Days" came up, I was already primed to expect the unexpected.
But I wasn't quite prepared for such a radical and delightful switch. "Sunne Days"
just flat out gives No Fixed Abode an international appeal with the back street speak-
easy, ambience it creates. It certifies that this band has range. This song, much like
the earlier tune, "Modern Life" sent me right to a smoky pub in the New Orleans',
French Quarter, sipping on something in a Julep glass and watching a sultry beauty
belt out her tune while a single spotlight followed her every move…or maybe it was in
Paris?
And so it is with the entire album. No Fixed Abode are story tellers, bards in the
truest sense. They paint images with music as deftly as Leonardo did with pigment and
with equal innovation.
"Clearwater" literally possesses something for everyone. With only Tony Dean's
perfectly stated guitar work and Una Walsh's stunning vocals it would be enough to be
called a masterpiece… but there is so much more.
Comparing No Fixed Abode to other groups in an effort to give you a sense of what they
do would be an injustice. They stand alone at the center of a musical desert of
indifference. This CD begs to be in every collection. I give it 10 whole notes.
Timothy J. Dowling
Artist's International Independent Radio (aiiradio.net Los Angeles Affiliate)
For further information visit freewebs.com/musicnfa or www.cdbaby.com/cd/nofixedabode .
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Fran McGillivray and Mike Burke
“Restless" feels like a road movie in song. It's folk blues, tinged with Americana, that switches between driving and drifting. Along the way it encounters people and places, occasionally pausing to throw in a traditional song, that they adapt to their style. Fran and Mike pull a richness into their music that belies the simplicity of its construction. Fran has a really expressive voice that delivers emotion so well, almost like June Tabor in a blues context. "Restless" captures that sense of wanderlust.Neil Fatea
"Superb music and performances which are never flashy, always spot-on and wonderfully entertaining. Combine this with the power and passion of Fran's vocals, the clever lyrics of the original material and the original approach and you have a delicious cocktail which never quite slakes your thirst and leaves you forever wanting more" (Blues Matters Magazine)
For more information see www.franmike.com or listen to clips and see forthcoming dates at www.myspace.com/franandmike.
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EMILY SINGLETON - Spirit on the Prowl
www.emilysingleton.com
Playing Time - 60:37
SONGS - 1. Spirit On The Prowl, 2. A Little Jaded, 3. A Few Words, 4. Shadow of a Mountain, 5. Mother, Mother, 6. Rise Up My Love, 7. So Mean, 8. Ain't Gonna Work Tomorrow, 9. Song for a Winter's Night, 10. Hobo Railway, 11. Sweet Becky at the Loom, 12. Keep on the Sunny Side, 13. Little Maggie, 14. Working On A Building
Born, raised, and reared on traditional music in middle Tennessee, Emily Singleton is now building a reputation as an eclectic adventurist and innovator. Emily Singleton's third album, "Spirit on the Prowl," follows her successful 2003 Bell Buckle disc ("Life in the Moment") that brought considerable attention to her genre-crossing approach that blends elements of bluegrass, Celtic, folk, blues and classical music. With a large body of original material, along with covers from Chris Kokesh, Gordon Lightfoot, A.P. Carter and traditional sources, "Spirit on the Prowl" is well-wrought and tastefully-rendered Americana. Elevating one's personal repertoire above mediocre singer-songwriter fare is every Emily Singleton's challenge. Folksingers could learn from her admirable efforts. Emily and the lean feminine harmonies (from her sister Teressa Parker, Jennifer Rinehart, Andrea Zonn, Becky Buller) are richly textured to be both earthy and somewhat ethereal. Although I wouldn't have minded additional vocal harmonies on a few more pieces mid-set (e.g. Hobo Railway), two parts work for most. The fullest, most robust vocals are discovered early in the set ("Spirit on the Prowl," "A Few Words," "Shadow of a Mountain") and then again to close the album with the blues-hued and spiritually-infused "Workin' on a Building." Adapted from a Gaelic song, "Rise Up My Love," is full of melancholy, and Gordon Lightfoot's "Song for a Winter's Night" is hypnotic and impressionistic balladry at its best.
Following her own muse leads Singleton into some unpredictable territory with such offerings as a precociously soulful and bluesy reworking of the traditional "Ain't Gonna Work Tomorrow." Emily can be dreamy and moving with a song like "Sweet Becky at the Loom," and she can also be surprisingly funky with an original "Hobo Railway," about a ramblin' man during the great depression. While their rocking groove of "Keep on the Sunny Side" is rhythmically propulsive, the wistful vocals rendered seem diminutive for the instrumentation. Emily doesn't shy away from intricate arrangements and interesting dynamics. Standard bluegrass instruments are heard, courtesy of such fine musicians as her husband Dave Higgs, Chris Joslin, Becky Buller, Jim Hurst, Ross Sermons, Jon Martin, Ricky Rigney, John Doubler and others. Singleton's music makes a large sonic leap from the bluegrass genre by copiously incorporating such instruments as viola, mandocello, accordion, pennywhistle, 12-string guitar, banjola, harmonica, concertina, octave mandolin, dulcimer, electric bass, and percussion. I'll bet it was great fun for musicians like Buddy Greene, Jeff Taylor, Andrea Zonn, and Dann Sherrill to add their stamp to the mix. It's a thrilling ride that documents her creative swagger, head, heart and soul.
Joe Ross
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Bellevue Rendezvous - 'Salamander'
The artwork for Salamander greets you with a vibrant warmth: a glowing and alluring amalgam of reds and oranges that is both classy and intense. It is therefore the perfect visual embodiment of the aural splendour that awaits the listener, for the music presented on Salamander is all of these things... and so much more. On this, their second recording, you get a real sense that the trio have really hit their stride, finding a shared energy and rapport that undoubtedly results in some of the most spellbinding music you're likely to hear this year.
Billing themselves as "an acoustic trio with a broadly European repertoire," Bellevue Rendezvous' success can be partly attributed to an absence of musical boundaries, that enables them to draw from a diverse and stimulating palette, with an intoxicating array of rhythm and melody that holds the listener's attention. Gavin Marwick's fluid fiddle playing provides a nimble agility that is perfectly juxtaposed against the full-bodied depth of Ruth Morris' nyckelharpa, whilst the punchy rhythms of Cameron Robson's cittern and guitar provide an intricate framework that binds their overall sound.
The opening set of tunes is an animated affair with an instant and undeniable appeal; contemporary and traditional Swedish tunes meld to wonderful effect, with the three instruments entwined in a racy and intricate alliance that lasts for a mouthwatering eight minutes. This is followed by "Hanter Dro," a dance tune from Brittany with a sterner, more measured melody, and an assuredly classy presence.
Gavin Marwick's own creative ingenuity is revealed on a number of occasions on Salamander, with his tunes absorbing a broad range of traditional influences. "Firedance" perfectly captures the personal sadness and adrenalin of the Irish immigration that influences the composition, whilst "Trip To Uppsala" depicts the excitement and anticipation of a much happier journey.
"Makedonsko Devojche," (Macedonian Girl) is an achingly emotive piece of music, with a tranquility that effortlessly evokes an intense montage of reluctant sorrow, quiet strength, and reassuring beauty. The potency and empathy instilled in this interpretation is overwhelming in its meticulous detail, and a real testament to the remarkable calibre of the three musicians. Salamander retires gently and gracefully with the Scandinavian "Herding Song," leaving you in a state of awe, and eagerly awaiting the next instalment of Bellevue Rendezvous' pan-European ramble.
Salamander should cement the position of Bellevue Rendezvous as one of the foremost talents in traditional music, with a sound that stands out as truly distinct and imaginative. The opportunities for a band that truly embrace the full gamut of European traditional music is seemingly endless, and in the hands of Bellevue Rendezvous it would doubtless be an exhilarating journey on which to embark.
Visit Bellevue Rendezvous on MySpace here!
Mike Wilson
Bellevue Rendezvous – Tangents (JYM001)
This album is essentially for those of you who enjoy listening to music from an artistic point of view. The three members, Gavin Marwick (Fiddle), Ruth Morris (Nyckelharpa) and Cameron Robson on Bouzouki and Guitar (as their sleeve notes point out) have leanings towards a broad European repertoire including Schottisches, Polskas and Waltzes. This is the kind of recording that will capture your imagination in a non-sterile, pleasant way featuring as it does well structured arrangements evoking images of baronial splendour (think of elegant Elizabethan dancers in banqueting halls) with graceful, measured performances. An interesting and beautiful album that will grow on you with each repeated play.
www.myspace.com/bellevuerendezvous
Pete Fyfe
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PAM TILLIS - Rhinestoned
www.pamtillis.com
Playing Time - 44:52
Born in 1957, the daughter of country music singer Mel Tillis first appeared at the Ryman Auditorium when she was just eight years old. Now she's on the list of top female country singers of all time. Drawing material from many influences, Pam's always been known for incorporating pop, rock, bluegrass, folk and other influences into her country. For example, acoustic stringsters like Bryan Sutton, Sam Bush, Aubrey Haynie, Steven Sheehan and Jonathan Yudkin add a few tasty bluegrass flavorings to the mix that primarily emphasizes electric guitar, bass, piano, organ and drums. Pam's own composition, "Life Has Sure Changed Us Around" is a tongue-in-cheek statement sung with John Anderson in one of the more acoustic arrangements.
For a Texas rockabilly beat with some understated banjo, John Armenti's "Down by the Water" is just the ticket. Jim Hoke's clarinet and harmonica impart an old-time jazz sensibility to "Crazy By Myself." The talking blues storyline of "Bettin' Money on Love" evolves into a cautionary tale about taking chances, making choices, winding up hurting, and spending a little fortune on love. Anyone who's ever played or partied in the country honky-tonks will be able to relate to the story of Red, Louise and Tommy in "Band in the Window." Drawn to trouble and courting disaster, Pam's own self-penned "The Hard Way" is an expressive statement as she sings "I love to play with matches 'tho I have to walk through fire." Bluegrass and Celtic instrumental flavorings of banjo, mandolin and pennywhistle close the set in "Over My Head."
It's been a few years since Pam released her "Thunder and Roses" and "It's All Relative" projects. "Rhinestoned" is a thoughtful and eclectic set of well-arranged songs that beats with the rhythm of her country heart and tender soul. Her traditional sensitivity comes through front and center. The result is a creative and impressionable set of reality music. It's refreshing to hear songs arranged, with stellar musicianship, around vibrant, colorful and sincere messages and stories. Right on, Pam!
Joe Ross
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Jez Lowe & The Bad Pennies – Wotcheor!
Whatever I’m doing…everything grinds to a halt whenever I receive a disk featuring Jez Lowe. The reason for this is that I know, even before I’ve had a chance to get the shrink-wrap off the CD box I’m in for another musical treat.
With an eye to catch the mind of anyone who enjoyed the antics of Arthur Askey (“Wakey! Wakey!”) or more regionally that of the debt ridden Bobby ‘The Little Waster’ Thompson, Lowe has managed, utilising the services of designer Bryan Ledgard and photographer Penelope Page to convey the image of a bygone era Radio Show. Even the introduction with it’s crackling signal tuning in to the first song “Barnstorming” and a delightful rendition of Billy Pigg’s “Biddlestone Hornpipe” performed by The Bad Pennies Northumbrian piper Andy May ably assisted by Kate Bramley (fiddle), David De La Haye (Bass), Jez on guitar/cittern and Hinny Pawsey (fiddle) the track is up-beat in that very North-Eastern way. Jez is rightly proud of his North-East roots and it couldn’t be more apparent than this homage to an institution that is sadly no longer with us.
Still, we have this recording to remind us as he introduces us to the indigenous ‘characters’ through a vivid eye to detail in “Watter’s Coming Annie” (an analogy to a modern day Noah) and the laughter inducing “It’s A Champion Life” with it’s comical references to the movie “It’s A Wonderful Life”. Of course, no Jez Lowe album would be complete without a stand-out track and for me, it’s the story of “Darling’s Other Daugther” a song that conveys, perhaps not through bitterness, but more rightly the sadness of living in the shadow of an icon. As is the tradition, the last word goes to the continuity announcer (Bert Draycott) complimenting the musicians and contributions of special guests Benny Graham, Louisa Jo Killen, The Young ‘Uns and The Tyneside Maritime Chorus. I could go on extolling the virtues of this wonderfully creative album but, as ever, the best way to conclude is to suggest that you buy the CD and find out for yourselves just how good it is.
For more information check out Jez’s website at www.jezlowe.com
Pete Fyfe
Jez Lowe – Jack Common’s Anthem (Tantobie Records TTRCD 109)
Jez Lowe is many things to many people. To me he is probably the hardest working and finest singer-songwriter in what we British lovingly call ‘the tradition’. I’ve never experienced a bad recording by Jez and never expect to so it goes without saying that this album is another fine collection of songs joining an already more than prolific repertoire. Conjuring images of a colourful North East both good and through the hard times was never a problem in the skilled hands of Mr Lowe and the melodies, often quirky are always approachable. Real life situations play an important part and none moreso than the hardships encountered at the shipyards in “Taking On Men” or the doomed love of “The Sea And The Deep Blue Devil”. To be perfectly honest I’d rather listen to the lyrics of one of these songs than plough through a whole auto-biography (Jez’s excluded!) and I apologise if that makes me sound too ‘unbookishly’ modern. Aided and abetted amongst others by long time collaborators The Bad Pennies, Steve Knightley (also the producer) and Phil Beer the musical accompaniment is never less than sparkling. I know I don’t need to say it but if you like ‘folk’ music or just good stories then buy this album at the earliest opportunity!
www.jezlowe.com
Pete Fyfe
ALISON MCMORLAND & GEORDIE MCINTYRE - White Wings
greentrax@aol.com OR cath@greentrax.com
www.greentrax.com
Playing Time - 55:55
In true folkloric tradition, "White Wings" is a tribute to song carriers that preserve material from earlier days. Song-by-song notes document sources, and they come from both oral and printed tradition. Scottish singer and folklorist Alison McMorland spent some years in England before returning to Scotland and forming a highly-acclaimed duo with Geordie McIntyre, a well respected singer and songwriter. Alison McMorland grew up around music, and she has built a reputation as a singer, collector, broadcaster, author and tutor. She was nominated for the 'Singer of the Year' Award at the 2005 Scots Trad Awards. Similarly, Geordie McIntyre has spent a lifetime involved in song, balladry and poetry. Although both are solo performers, Alison and Geordie have developed a joint collaborative repertoire based on their common interests and mellifluous blend
"White Wings" includes solo a cappella renditions by both singers, duets, and others with lean instrumental accompaniment of guitar, fiddle, concertina, viola, whistle, jaw harp, banjo, and/or mouth organ. The instrumental work is kept sparse to not detract from the lyrics. Duets like "Here's A Health To All True Lovers" are sung in unison. I especially enjoyed those selections that partnered their lyrical vocalizing with the bouncy interplay of just fiddle and concertina (White Wings, The Shoreheid Boat, Time Wears Awa, John Barleycorn). Norman Chalmers is the talented concertina player who is as fluid and tricky as he needs to be with his buttons and bellows. Derek Hoy has a sweetness and purity of tone on his fiddle. Both musicians are members of Jock Tamson's Bairns. A drama teacher, Kristy Potts (Alison's daughter) adds her clarion singing part to three numbers. Her involvement is a comforting affirmation that the songs are being passed down to the next generation's song carriers. It is very much appreciated that the 24-page CD jacket also includes lyrics for all the songs.
Both McMorland and McIntyre provide engaging interpretations of ballad and song. Their voices emerge as irresistible forces of clarity and emotion in the finest Scottish singing tradition. They are strong, controlled, and genial as the pair sings songs full of lament, hope and humor.
Joe Ross
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ROBIN LAING - One For The Road
www.greentrax.com OR www.robinlaing.com
Playing Time - 50:08
'There's a world of whiskey out there, so let's have another dram," is the opening statement from Robin Laing, a well-known Scottish singer/songwriter who makes his home in rural South Lanarkshire. "One For The Road" is Robin's third album on the subject of Scottish whisky, and it's his seventh album overall. In fact, he also sings about whiskey from other regions too. His self-penned "Heaven Hill" about Kentucky bourbon is arranged with some understated banjo to give it a slight bluegrass flavoring. More than half of the songs on "One For The Road" were written by Laing, and the remainder come from Karine Polwart, Mark Wise, Amy Allison, Simon Haworth, Tegwen Roberts, and Harley Allen & Carson Chamberlain. Lyrics for all are found on his website robinlaing.com.
It's interesting that Robin has focused his study to songs and poems about whisky, but I can see how there would be demand throughout the world for a skillful singer/songwriter with his interest and specialty. Of course, he also has songs about many other subjects on other albums. I wonder how he discovered his calling. At present, Robin chairs the tasting panel of the Scottish Malt Whisky Society. He writes many of their almost poetic tasting descriptions. He also contributes regularly to Whisky Magazine and has published "The Whisky Muse," poems and songs about Scotch Whisky. He is also about to publish "The Whisky River" about the distilleries of Speyside.
In a humorous vein similar to Hank Snow's "I've Been Everywhere," Robin's "Speyside Whisky Song" is a real tongue twister about a a wee dram waiting at the end of every mile. One verse exclaims, "From Glenrothes to Gentauchers, From Glenfarclas to Glenspey, From Glen Moray to Glen Elgin and Glen Grant, From Glenfiddich to Glenlossie, Glenlivet to Glen Keith, I'm a whisky-sippin' Speyside sycophant." I'd like to see him try singing this song about a sip or two of Scotland's finest.
If you also see potential for whisky as a deadly lethal weapon, then be sure to pay attention to the words in "We Can't Let Al Qaeda Get Their Hands On This." A song like "Uisquebaugh Baul" is pure unadulterated edu-tainment. Laing uses his sense of humor and musicianship to both entertain and educate. His presentation has country, folk and pop leanings largely the result of choice of instrumentation (guitars, bass, keyboards, banjo, drums, pedal steel, accordion, sax, flute, and vocals). The supporting cast of musicians includes David Scott, Jim Gash, Derek Star, Ian Barbour, David Cormack, Brian Molley, Stuart Kidd, Rachel McKenzie, and Ursula Laing. They've produced an intoxicating concept album that is sure to boost your spirits. Whether a shot, double or drappie, yu must sample some of his smoothly blended music.
Joe Ross
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DREW EMMITT - Across the Bridge
www.compassrecords.com OR www.drewemmitt.com
Playing Time - 55:38
Somewhat like Tim O'Brien, mandolinist and singer Drew Emmitt has a contemporary style all his own. Unlike Tim who incorporates electric guitar, drums and percussion into his arrangements, Drew Emmitt prefers to keep his music fully acoustic. Drew is best known for his work with Leftover Salmon, a Colorado electric "jamgrass" band (actually their own genre moniker was "Cajun slamgrass") which broke up in 2004. Drew then assembled a band, The Drew Emmitt Band, which has returned to a more traditional sound. His musical compadres include some first class musicians -- Matt Flinner (banjo, mandoin, bouzouki), Greg Garrison (bass, harmony vocals), and Ross Martin (guitar). Guest artists appearing on this CD include Del McCoury, Ronnie McCoury, Sam Bush, John Cowan, Stuart Duncan, Paul Barrere and Jim Lauderdale. Barrerre (of Little Feat) sings lead vocal and plays slide guitar on his own composition, "All That You Dream."
"Across the Bridge" is actually Drew's second release, and it's largely original material. It would've been nice if the CD jacket had included lyrics. Emmitt is the sole composer of "Reach Out For Me," "Silvanite," and "Out in the Woods." The former is ¾-time is an offer of love, friendship and support in tough times. Over 7 minutes in length, the latter is a fluid piece that gives equal footing to instrumental improvisation and the song's message in a similar way to how Leftover Salmon performed it. Once the groove is established, each string wizard gets to strut their stuff. Three songs were written by Emmitt and Jim Lauderdale ("Up Where We Are," "The Awakening," and "This House"). Emmitt's collaboration with Ben Galloway resulted in two numbers, "All Night Ride" and "Cross That Bridge." "Big Ice" is a snappy instrumental written by Flinner. The nearly 7-minute cover of Dylan's "Meet Me in the Morning," gets a tad bit tedious and could've potentially been arranged.
Emmitt's multi-genre exploration takes us into steaming bluegrass ("All Night Ride"), engaging country ("Reach Out For Me"), gripping instrumental ("Silvanite"), and even some ethereal new acoustic territory ("The Awakening"). His music is tightly crafted with a visceral quality that is both intense and profound.
Joe Ross
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Tom Russell – MESABI (Shout Factory/Proper PRPCD.088)
Mesabi? – it’s up there in Minnesota: it’s the range of iron ore deposits that are bordered on one hand by Lake Superior and on the other by the towns of Duluth and Hibbing that figured so heavily in Bob Dylan’s early life. And so it turns out that the album’s title track is (in not so many words) a musical approximation of the kind of mix the young Dylan himself would’ve experienced on local radio – rock’n’roll, country, R&B, mex and gospel all melded together to provide the backdrop for his childhood recollections. After this scene-setting piece, Tom takes us on a typically potent tour through mythical America, always with a characteristic combination of sincere affection and realistic perception that’s immediate and distinctly arresting. Inevitably, his stories deal with fallen heroes and retell tragic legends, with big-time disillusionment and the destruction of promise and dreams a recurring theme. Of course, the price of fame provides the cautionary tale, or, as When The Legends Die succinctly puts it: “Don’t pay to get into the dance, kid, if you can’t stand the rock and roll’. It’s not always entirely avoidable, though; for instance, one of the set’s finest moments comes on Farewell To Never-Never-Land, which pointedly and poignantly asks the question “whatever happened to Bobby Driscoll?”. Bobby, we learn, was one of the two Disney stars, the misfortunes of whose lives are recounted in song by Tom on Mesabi (the other being Cliff Edwards, whose sad tale forms the basis of The Lonesome Death Of Ukulele Ike). Other Hollywood icons whose fates are retold by Tom include James Dean (The Land Called Way Out There), actor Sterling Hayden (a Communist blacklisted during the McCarthy era) and Liz Taylor (Furious Love), the latter memorably connected to a pair of songs exploring the fates of border towns Juarez and El Paso. All told, it’s no exaggeration that this sequence of almost unbearably well-observed vignettes-cum-biopics delivers one of the most continuously riveting albums you’re likely to hear – magnificent, absolutely compelling songwriting and performances from Tom himself, with an astoundingly effective supporting cast who are right in there with him: there’s Gretchen Peters on harmony vocals on a couple of the standout cuts, a pair of cameo appearances from Van Dyke Parks, and the roll-call of top-flight musicians includes Fats Kaplin, Will Kimbrough, Joey Burns, Viktor Krauss, Joel Guzman, Barry Walsh and David Henry, with special mention due for Calexico’s crack trumpet player Jacob Valenzuela who gives a bold and definitive signature to several tracks. Even so, I can’t resist remarking that Tom’s bare-bones guitar-and-vocal revisit of The Man From God Knows Where song Love Abides is an album highlight, and fits perfectly in with the theme of the rest of the exercise. Major-league though the principal sequence of Mesabi is, Tom also delivers two great bonus tracks; the first, singularly appropriately, is a cracked, pained and intensely heartfelt cover of A Hard Rain’s A-Gonna Fall done as a duet with Lucinda Williams and backed by Calexico musos – total magic! – whereas the second is the galloping title number from the Monte Hellman noir movie The Road To Nowhere (the soundtrack for which also took up Roll The Credits, Johnny). Laudably, the package includes full lyrics and credits, but unfortunately not the all-important background stories, for which on this occasion I need to thank a copious and well-written press release!
David Kidman
Tom Russell – Blood and Candle Smoke (Proper PRPCD. 049)
The long career of Tom Russell (in the eyes of many, America’s greatest living storyteller in song) has been marked by a series of highly influential albums that exude quintessential Americana from every pore, running the musical gamut from country to folk and all points in between and beyond. Tom kinda drew a line under what he regarded as the first phase of his career with last year’s all-embracing anthology Veteran’s Day, and now he launches into its second phase in style with a captivating new collection of songs on which he’s backed by borderlands band Calexico, who impart to much of the set a sensuous tex-mex flavour while not diluting the impact of Tom’s distinctive novelistic writing. For Tom still derives his core inspiration from America’s landscape and history (Santa Ana Wind, American Rivers), while his own singing voice remains absolutely distinctive, his signature rich Texan drawl defining his compellingly literate stories of the country’s outsiders, the lost souls and the obscure byways they inhabit. Crosses Of San Carlos, Darkness Visible and The Most Dangerous Woman In America, taking the form of border ballads, are typically painstaking and sympathetically observed portraits of such characters. Typically too, American (and Native American) culture is frequently referenced, while Ol’ Man River is used as a springboard for the soulful (Band-like) swamp-gospel of Mississippi River Runnin’ Backwards and Ain’t No Cane prefaces the panoramic American Rivers. Additionally, there’s a strong autobiographical thread running through Criminology and the almost Pacheco-esque East Of Woodstock, West Of Viet Nam, while Tom later draws on deeply personal memories of individuals he has known: on Nina Simone he recalls the initial impact that singer made on him, whereas Finding You is a touching love-song to his wife. A handful of the album’s songs also bring in the spellbinding vocals of Gretchen Peters. These include a revisit of Guadalupe (whose sixth verse provides the new record’s title), premièred on Gretchen’s own recent album with Tom; now yielding the vocal lead to the song’s writer, it becomes the present disc’s world-weary standout. All told, I’d venture that Blood And Candle Smoke definitely represents one of Tom’s finest hours thus far.
David Kidman
TOM RUSSELL BAND - Raw Vision 1984-1994
www.rounder.com OR www.tomrussell.com
Playing Time - 60:34
SONGS - 1 Waterloo, 2 U.S. Steel, 3 Blue Wing, 4 Home Before Dark, 5 Veteran's Day, 6 Purgatory Road, 7 Heart of Hearts, 8 Navajo Rug, 9 Gallo Del Cielo, 10 Spanish Burgundy, 11 Hurricane Season, 12 Haley's Comet, 13 Oil Field Girls , 14 Hong Kong Boy, 15 Denver Wind
About a decade or two ago, The Tom Russell Band's music was considered folk. Now, this album hails the band's frontman as "one of the seminal artists of the Americana movement." The singer/songwriter from New York emerged on the scene in the mid-1980s, and his sound had influences of country, rock, Tex-Mex and folk. You might have seen his name in songwriting credits in collaboration with such big names as Nanci Griffith, Peter Case, Ian Tyson, Sylvia Tyson, Dave Alvin and Katy Moffatt. On "Raw Vision," all but three selections were written solely by Russell. "Navajo Rug" was written with Ian Tyson; "Haley's Comet" with Dave Alvin; and "Hong Kong Boy" with Greg Trooper. Americana has now come to signify an eclectic blend of music, largely acoustic, for diverse tastes. The format implies an aesthetic style that is honest roots music with a connection to country. Americana is both a small grassroots specialty format as well somewhat of a marketing strategy too. It's also a foundation that serves as a springboard for artists who are difficult to categorize exactly.
The Tom Russell Band released five albums on the Philo label between 1984 and 1994. With deep voice, Russell is a storyteller with his lyrics. His songs are packed with imagery and emotions. Instrumentally, the band works as a strong team. Besides Russell on acoustic guitar and vocals, there are Andrew Hardin (guitar, bass), David Mansfield (slide guitar), Fats Kaplin (pedal steel, fiddle, harmonica, accordion), Lee Thornburg, Tom Timko (horns), Skip Edwards (keyboards), Hank Bones, Dusty Wakeman, Billy Troiani (bass), Steve Holley, Charlie Caldarola, Mike Warner, Jeff Donovan (drums). Guests include Katy Moffatt, Greg Trooper, Ian Tyson, and David Hidalgo.
This compilation documents some solid performances of some very polished songs. With this album's release following in Katrina's aftermath, "Hurricane Season" is particularly a timely piece. "Haley's Comet" is a classic about Bill Haley's demise. So are "Blue Wing," "Veteran's Day," and "Navajo Rug." Johnny Cash also cut the first two. Another popular Tom Russell Band song is "Gallo del Cielo," which Joe Ely covered. One cut that I wish Tom would've included is one co-written with bassist Andrew Hardin called "Zane Grey."
Americana has been trying to position itself as a "better alternative" to mainstream stations. Tom Russell Band has as strong alternative country flavor. If you're part of that whole segment of music-listening populace who is not listening just to what is programmed on the pop and country charts, you owe it to yourself to rediscover this body of work from The Tom Russell Band. "Raw Vision" realizes that the country music umbrella is much broader than just might hear on mainstream radio. Tom Russell's tangent from the 80s and 90s was on the leading edge of the Americana movement. "Oil Field Girls," "Hong Kong Boy," and "Denver Wind" are previously unreleased.
Joe Ross
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THE DUHKS - Migrations
www.sugarhillrecords.com OR www.duhks.com
SONGS - Ol' Cook Pot, Mountains of Things, Heaven's My Home, The Fox and the Bee, Down to the River, Who Will Take My Place?, Moses Don't Get Lost, Three Fishers, Domino Party!, Out of the Rain, Turtle Dove
Playing Time - 39:38
The Duhks' progressive "neo-folk" or "cerebral folk" music is best described as highly-arranged folk and Americana that draws inspiration from various genres such as old time string band, Celtic, soul, gospel, folk, and zydeco. The band was nominated for the 2005 Emerging Artist of the Year Award by the Americana Music Association. "Migrations" has about 2/3 of the music that their self-titled debut did, but you'll find that the 11 tracks and 16-page CD jacket don't leave us feeling short-changed. In fact, the project took home the 2006 Juno Award for Roots & Traditional Album of the Year in the Group category.
Hailing from Winnipeg, the quintet likes to invite a few guest artists into their mix; in this case, Tim O'Brien (5 tracks), Luke Bulla (1 track), and Katie Herzig (1 track). "Migrations" was produced by Gary Paczosa and Tim O'Brien who suggested songs, contributed additional lyrics, and even played or sang along in Tim's case. In keeping with their successful personalized sound, we hear well-crafted, creative songs with soul-stirring vocals and striking guitar, banjo, bass, fiddle and percussion. Low whistle and Uilleann pipes also appear in their kettle of sound. Three of the five Duhks provide vocals, both lead and harmonies. Whether covering Tracy Chapman's "Mountains O'Things" or serving up a Zydeco-flavored "Down to the River," they manage to find some novel material to infuse with their stamp. Tracy's song, of course, encourages us to "renounce all those material things" to save our souls. An instrumental medley of two originals with a Cape Breton tune illustrates how The Duhks blend tradition with their own individuality. Repertoire is also drawn from African-American spirituals (Turtle Dove, Moses Don't Get Lost) and Celtic-flared instrumentals (Three Fishers, The Fox And The Bee).
The band's affinity for reflective ballads with poignant lyrics capitalize on Havey's plaintive vocalizing (Heaven's My Home, Who Will Take My Place, Out of the Rain) to round out the set. "Heaven's My Home" provides a subtle vision for cautious optimism in a life full of trials, travails and adversity. "Who Will Take My Place?" was written by Dan Frechette about the Irish patriot Michael Collins but has more universal application for anyone fighting oppression. Penned by Jessee Havey, "Out of the Rain" provides sunny direction "far from the pain of being tied to your back door."
The Duhks' are Scott Senior (percussion), Jessee Havey (vocals), Leonard Podolak (banjo, fiddle), Tania Elizabeth (fiddle, mandolin), and Jordan McConnell (guitar, whistle, pipes). Creative artistry is built around an ability to free one's own muse. The Duhks' approach allows for personal expression without belittling the very traditions that they're stretching. This successful and impressive debut effort was done right and with abundant rewards. Before reinventing tradition, The Duhks have obviously lived and breathed the tradition itself by knowing, respecting, and appreciating the natural graces and flowing rhythms of Celtic and folk music. It's an amazing feat for these twenty-somethings. With this strong foundation, The Duhks then incorporate their own life experience to arrange and create a signature sound. The musicians' sensory journey takes us along with joy, sorrow, inspiration, and even occasional humor.
Whether serving up a beautiful, spiritual ballad or a rousing medley of reels, they manage to make each a part of greater Duhkville. With impressionistic and memorable material, this album continues presentation of The Duhks' earthy. Their music conveys an understanding of the bond between land and soul. Their compelling performance is one wrought with the emotional impact and virtuosity of soulful vocals, slapped skins, wailing fiddle, flowing guitar, and bouyant banjo. With a band vision to redefine both folk and pop music, The Duhks are well on their way to doing it with their acoustic tools of the trade. I, for one, greatly appreciate their conscious decision to not rely on any electric instruments, synthesizers or drum machines.
Joe Ross
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NORTH CREGG - The Roseland Barndance
www.greentrax.com OR www.northcregg.com
EMAIL greentrax@aol.com
SONGS - 1. Sliabh Luachra Polkas (Untitled, Sonny Riordan's, Bill The Weaver's), 2. The Dark Eyed Sailor, 3. The Roseland Barndance, 4. The Girl From The Big House (The Girl from the Big House, The Humours of Ballingarry, Molly Brannigan's), 5. Barbara Allen, 6. Earl Mitten's (Bridgie's Barndance, Earl Mitten's Breakdown), 7. The Humours Of Ballydesmond (The Borlin Polka, The Humours of Ballydesmond, O'Keeffe's), 8. An Raibh Tu Ag An g Carraig, 9. I'd Rather Be Married Than Left (I'd Rather Be Married Than Left, The Gleanntan Frolics, Barrack Hill, The Clare Jig), 10. Go Your Way, 11. Crehan's Reels (Crehan's, Bonny Anne, Dermot Byrne's)
Playing Time - 40:56
With a solid set of dance tunes and songs, North Cregg's fourth album also is a milestone that celebrates their tenth year in the Celtic music business. As most bands with such longevity have experienced personnel changes, a few members (fiddler Caoimhin Vallely, guitarist John Neville, pianist Paul Meehan and vocalist Fiona Kelleher) have come and gone over the years since their seed was first planted in a pub session. The Irish band now consists of Christy Leahy (button box), Liam Flanagan (fiddle, banjo), Ciaran Coughlan (piano), Martin Leahy (guitar, drums) and Claire-Anne Lynch (vocals, fiddle). Martin is Christy's younger brother who originally joined the band about 1998 for a tour to Germany. Flanagan has been with the group since 2004; Lynch since early-2006. Together, they are an inspired and energetic bunch. They owe their moniker to 5-year-member John Neville who once had to quickly respond to a festival organizer when asked for the band's name. He thought of a tune (by uilleann piper Jimmy Morrisson) that was named for a small town in County Cork. Thus, North Cregg found its direction, although many fans now just affectionately refer to them as the Creggies.
On this album, the title cut written by Joe Derrane, recalls some of the Irish dancehall music played by emigrants to the U.S. in the early-1900s. It's a fine showcase for talented accordionist Leahy, while the subsequent track with a medley of jigs particularly demonstrate the fine bow work and pluck of Flanagan. "Barbara Allen" and "The Dark Eyed Sailor" are perfect ballad choices for Lynch's gentle and alluring vocalizing. If there's anything I miss in beautifully poignant contemporary Celtic music like this, it's vocal harmony and perhaps some of the men singing too. A lively piano-centric set with a French Canadian flavor is "Earl Mitten's." Guests Dirk Powell and Seamus Burns add clawhammer banjo and spoons, respectively. Another guest joining the North Cregg on the album is upright bassist Chris McCarthy. That's a wise move as I do like hearing some low end in Celtic music. Besides jigs and reels, some spirited sets of polkas are pure delight to liven up the party. The Gaelic offering at track 8 is dreamy and seductive as it tells the story of a banished young man's desire to see his true love. "Go Your Way" is another hypnotic ballad, this one written by English folk singer Annie Briggs. Claire-Anne's delicate voice is silky, expressive and enticing. I hope that the band might consider adding their songs' lyrics to their website for further analysis.
Recorded in Cork, "The Roseland Barndance" is an admirable addition to the band's musical catalog. During the past decade, North Cregg has carved out their niche and built a reputation for distinctive music with both emotional depth and downhome fervor. Most importantly, their enthralling music exudes polish, stability and maturity. Touring the world, North Cregg brings their soulful stamp on Celtic music to the largest festival stages. Their previous albums include "...And They Danced All Night" (1999), "Mi Da:Za" (2001), and "Summer At My Feet" (2003).
Joe Ross
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ANAIS MITCHELL - The Brightness
www.righteousbabe.com
SONGS - 1. Your Fonder Heart 2. Of a Friday Night 3. Namesake 4. Shenandoah 5. Changer 6. Song of the Magi 7. Santa Fe Dream 8. Hobo's Lullaby 9. Old-Fashioned Hat 10. Hades & Persephone 11. Out of Pawn
Playing Time - 39:37
From Vermont, Anaïs Mitchell is a singer-songwriter with a precociously girlish voice. A winner of the New Folk competition at the Kerrville, Tx. Folk Festival, she's only in her 20s but has already released three albums since 2002. "The Brightness" is a debut on Ani DiFranco's Righteous Babe record label. With similar tempos and melodies, Mitchell's contemplative songs require astute listening and comprehension skills. Her lyrics need your focus and undivided attention. "Your Fonder Heart" demonstrates her wide vocal range as she sings "way over yonder I'm waiting and wondering, whether your fonder heart lies." The album's title is derived from the second track, "Of a Friday Night," a ballad that is full of nostalgic imagery as it paints a picture of a time-worn town with its old poet that once knew fullness in the quarter "out in the brightness of a Friday night." Carrying her own poetic and literary torch, Mitchell seems willing to assume various roles in the song as good time gambler, restless wife, or midnight writer if she can help revive that Friday night luster that once was. Her enthusiasm and optimism glow.
Embellished with Michael Chorney's melancholic saxophone, "Namesake" makes an exclamatory statement - "everybody knows you, nobody knows you, everybody knows you, I want to know you." I view the song as a search for identity among both oneself as well as another with whom your name is shared. "Shenandoah," one of the few tracks featuring Ben Campbell's banjo and background vocals, relates a tale of love lost, a reckless daughter of the rolling water. Accepting loss and pain can be stressful and demanding. We cope in different ways, and "Changer" seems to just ask for a little reconciliation and understanding: "I know love is a stranger, I know that changes come, I know love is a changer." While Anais' mainly plays guitar and sings, this song is the only one with her piano in the mix. Other instrumentation on the project includes some understated lap steel, bass, sax, organ, drums, viola, banjo and cello. Besides three songs with background vocals by Ben Campbell, some are also sung by Miriam Bernardo.
"Song of the Magi," a song awash in emotion, is set in a welcoming west bank town that, because of war, evolves into a town of hope. "Santa Fe Dream" is ambient and austere in the shadows, but Mitchell conveys a pleasurable sentiment - "if it should happen, if you should turn to see, the way that moon sheds her light, on your love where she sleeps, go lay down beside her, and wonder again, that such a small window, lets so much light in." I can sense that Anais loves to travel, and some of her inspiration comes from discoveries along her journeys. "Hobo's Lullaby" continues the album's sleepy, lulling atmosphere, and if there's one complaint, it might have been nice to orchestrate the set with a few moderately-tempo'ed pieces for some pick-me-ups. "Old-Fashioned Hat" is about not needing much to enjoy life and love, but the song ends on a pessimistic note that, following marriage, there will be fighting, drinking and forgetfulness. Inspired by Greek mythology, "Hades & Persephone" is presented as a conversation between the King and Queen of the Underworld. Hades obtained his queen through trickery, but Persephone seems astute enough to ask "what does he care for the logic of kings? the laws of your underworld? it is only for love that he sings! he sings for the love of a girl." Set in New Orleans, I interpret "Out of Pawn" as a tale written from Uncle Louie's heart and experience during the flood when it was realized that "the girl and the city were one and the same, and last call never came."
In lean, rawboned singer/songwriter fashion, Anais Mitchell's alluring feminine voice is the radiant and resplendent beam in each piece. With a buoyant and feathery presentation, the troubadour provides some novel interpretive tales and twists to emotional attachment, sensitive feelings, and even controversial political issues. I was hoping to peruse her lyrics for a much better understanding of this songwriter's muse. Instead, I'm just left with as many questions as answers. I understand that she gets considerable inspiration from "The Alexandria Quartet" (a 4-part novel series by Brit author Lawrence Durrell). She also once wanted to become a journalist. In a sense, "The Brightness" is a kind of musical diary or journal that documents her thoughts, happenings, and probably some fictional occurrences too. She writes very legibly, and I think her best Pulitzer prize-winning music may still be yet to come.
Joe Ross
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All Jigged Out – Wish Hill (Hobgoblin Records HOBCD1004)
The opening few bars of this tremendous instrumental album will immediately catch your attention! For those of you who can cast your mind back to Moving Hearts or early Davy Spillane you’ll feel comfortable in an indulgent sort of way and those who can cast their mind even further back there are touches of Vladimir Cosma who wrote the inspired score for the David McCallum TV version of ‘Kidnapped’. This sense of grandeur explodes from arrangements such as ‘The All-Knowing Salmon/McArthur Road’ featuring the band’s jazz/folk cross-over brilliantly with a Grapelli-esque Benjamin Lee (fiddle) sparring with the flute of Philippe Barnes. Tom Phelan (Piano) and Ollie Boorman (percussion) prove no slouches either when it comes to accompanying the death defying instrumental leads laying a solid foundation of rhythm that just makes you want to dance. This is a staggering debut from a band that should see them as late-night festival headliners in no time at all. Brilliant!
www.alljiggedout.com
Pete Fyfe
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ELANA JAMES - self-titled
www.elanajames.com
SONGS - 1 Twenty-Four Hours a Day 2 One More Night 3 Oh, Baby 4 Goodbye Liza Jane 5 All the World and I 6 Run Away with Me 7 Eva's Waltz 8 Down the Line 9 I Got it Bad (And That Ain't Good) 10 Silver Bells 11 The Little Green Valley 12 Memories of You 13 I Don't Mind
Playing Time - 40:24
Elana Fremerman is originally from Kansas. In search of her muse, she's now living in Austin and is known as Elana James. Beaming with irresistible, savory music, Elana's debut comfortably presents original songs alongside classic jazz and western swing standards. All have straightforward stories and simple declarations. The ten-year member of the Hot Club of Cowtown was invited to join Bob Dylan's group shortly after the former disbanded. She covers Dylan's hit that was originally released in the 60s, "One More Night," and she's clearly ready for the light to shine on her. Building off her previous body of recorded work, Elana's music radiates with plenty of seductive charm, confidence and composure. It's nice to see the skillful musician making the big leap to being a full-fledged soloist in the spotlight. It's obviously a kind of liberating experience for her. Six of the CD's cuts are her own self-penned original songs demonstrating her proficiency as both musician and lyricist. Her challenge is to make the set sound both new and old alike, and Elana has that special knack that will surely bring much continued success. One of the youngest inductees into the Texas Western Swing Hall of Fame, Elana is happening….probably because she sings and plays with so much fervor and infatuation. She's got it bad, and luckily for us that's good!
Whether bowing her "Eva's Waltz" or vocalizing Eubie Blake's big 1940s hit "Memories of You," she connects the dots from past to present. She's blessed with a Midas touch on her violin that moves effortlessly from note to note throughout the album. Actually, she prefers to be known as a "fiddilist." With a standard like "Silver Bells," she and Johnny Gimble do some expressive twin fiddling in harmony before embarking on some brief but fiery improvisations. Recording with James on his 80th birthday, Gimble also plays his electric mandolin on "Goodbye Liza Jane." Besides Gimble, other instrumental support on the album comes from Beau Sample (bass), Dave Biller (guitar), Luke Hill (guitar), Joe Kerr (piano), Bruce Brackman (clarinet), and Mark Hallman (brushes). Sample also contributes some harmony vocals.
James' voice is lovely, limpid and even somewhat exotic on her leisurely rendition of Duke Ellington's "I Got It Bad (And That Ain't Good)" and "I Don't Mind." The latter is a very pleasant song that we just don't often hear covered as frequently as Duke's bigger hits. While some may perceive her lyrics as a tad novice ("Run Away With Me") when laid out alongside words from the likes of famous lyricists, I feel that Elana holds her own with some splendid musical vignettes…."oh baby, take me by the hand, help me understand." She writes with more traditional sensibility than with some contrived or modernistic approach that attempts to push boundaries of the genre she's playing. "Twenty-Four Hours A Day" opens the project with a jumpin' groove, and her own harmonies on "All The World And I" are more winsome, old-time and folky. The latter song was inspired from a biography about A. P. Carter as she sings "when all the flowers grow up, it's you they want to be." What a feather in her cap that her own plain but thoughtful messages can stand up side-by-side to those of Bob Dylan (One More Night), Billy Strayhorn (I Don't Mind), Andy Razaf (Memories of You), Paul Webster (I Got It Bad), and Carson Robison (The Little Green Valley). You may recall that the last song was a hit for Marty Robbins, and Elana does seems to have an affinity for elements of nature as she observes "I hear a mockingbird down in the little green valley / he's singing out a song of welcome just for me." Elana is very comfy singing about babbling brooks and shady nooks, or searching (in "I Got It Bad") for sweet, gentle love as she feels "like a lonesome weeping willow lost in the wood."
Elana James' debut album is enchanting and mesmerizing. It shows that she's both accomplished and witty -- a proficient swinging and jazzy raconteur if you will. Be sure to catch her own trio (with Sample and Hill) when they come to town. This album reinforces her belief that the key to success is just a matter of getting out there and doing it.
Joe Ross
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SUNNY SWEENEY - Heartbreaker's Hall Of Fame
Email: donica@hollerbackpr.com OR sunnysweeney@yahoo.com OR emilee@hollerbackpr.com
www.myspace.com/sunnysweeney OR www.sunnysweeney.com
Playing Time - 39:27
Based in Austin, the vivacious Sunny Sweeney sings smart, tuneful songs on this auspicious debut. Her infectious spunk is perfect for the sturdy alt-country and Americana offerings. She has assembled a formidable band, but I noted that vocal harmonies were a tad understated. Sunny's Texas drawl conveys some rather alluring sensuality or honky tonky kick-up-yer-heels fun on both originals and covers. Sweeney's originals include "Ten Years Pass," "Slow Swinging Western Tunes," and "Heartbreaker's Hall of Fame." While she's written many songs, these are her best and the ones she was most comfortable and enthusiastic about presenting to us. They've got some memorable melodies and lyrical sentiments. Writing from personal experience to be honest and convincing seem to drive her songwriting. Jim Lauderdale co-wrote two numbers, "Refresh My Memory" and "Please Be San Antone." Jim also makes a cameo appearance in a duet with Sunny on Keith Sykes' "Lavender Blue." Her optimism and exuberance are exciting. I serious doubt that she'll be the "Next Big Nothing" as she facetiously suggests.
I love to hear singers express emotions about their own regions or homes. Covering another Texas singer's hit, Sunny gives a mighty fine Lone Star treatment to Libbi Bosworth's "East Texas Pines." Sunny was raised in the piney woods of east Texas near Longview, got a degree in public relations at S.W. Texas State Univ., tried her hand at improv theater/comedy, and then decided to form a country band. Produced by Tom Lewis and Tommy Detamore, the album was also designed with an objective of portraying her ebullient personality and capturing the kind of live show she presents. While some more variety in arrangement might've been nice, all of the songs on "Heartbreaker's Hall of Fame" include full ensembles of proficient session players who know their way around their guitars, bass, drums, pedal steel and fiddle. Some occasional harmonica, mandolin, banjo, or Dobro embellish a few pieces with some understated acoustic tints. I could've used more of Ted Roddy's harp and bobby Flores' fiddle and mandolin. In some secluded woods near San Antonio, one goal of the Cherry Ridge Studio in Floresville, Tx. was to facilitate Sunny tapping into the emotional strength and feeling of her repertoire. Special recognition is worth of Lars Albrecht's taste and technique on his Telecaster guitar.
Her debut album has carefully cultivated tunes with some new, fresh outlooks that country music needs so badly. I reckon that's what I really enjoyed about this set. Nothing stale here ….. even when covering Iris DeMent's ballad "Mama's Opry" or Tim Carroll's plain-and-simple raucous tongue-twistin' "If I Could" (also recorded by John Prine) that admits we all have disappointment but to get past them. "Now if I could, then I would, make money doin' something that I love, I'd thank my lucky stars above, If I could just get by, lovin' you dear, Then I would just get by, makin' love to you."
Tom Schuyler's moving "16th Avenue" (a version of which Lacy J. Dalton recorded about 1982) is a sweet nostalgic way to conclude the set. Just like the "boys who make the noise," Sunny's got that same million dollar spirit. She takes the lyrics seriously. Golden words roll off her tongue, and she's seeing her dream come true. She's walked away from everything just to sing for me and you.
This Texas dreamcatcher doesn't want to just be a bystander. She wants to front one of the best country bands in Texas. The honky-tonkin' songbird's vocals can soar like a hawk or swoop like a swallow. With both elegance and country charm, she wraps her lyrics around some stellar accompaniment. For some down-home Texas country heart and soul, Sunny Sweeney's lone star brand of music is definitely worth a listen.
Joe Ross
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Philippe Barnes & Tom Phelan – The Madrid Sessions (Hobgoblin Records HOBCD1003)
This is one of those albums that seamlessly draws together two like-minded musicians who were just born to perform with each other. This is technical yet non sterile playing which is a soulful co-joining of both traditional folk and jazz proving that both musicians are not frightened to expose their Celtic roots. Both Philippe and Tom are equally at ease paired down to just the duo (flute and piano) for this album or working with their full-blown band All Jigged Out. Listen and be prepared to be amazed by some digital dexterity at its best.
www.philippebarnesandtomphelan.co.uk
Pete Fyfe
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CHRIS THILE - How to Grow a Woman from the Ground
www.sugarhillrecords.com OR www.christhile.com
SONGS - Watch 'at Breakdown, Dead Leaves and the Dirty Ground, Stay Away, O Santo De Polvora, Wayside, You're An Angel and I'm Gonna Cry, How To Grow A Woman From The Ground, The Beekeeper, Brakeman's Blues, If The Sea Was Whiskey, Cazadero, Heart in a Cage, I'm Yours If You Want Me, The Eleventh Reel
Playing Time - 50:28
My goodness…it's truly amazing what Chris Thile has done with his music since Nickel Creek first burst on the scene about 1990 at the San Diego Bluegrass Festival. A child prodigy, Chris won the Arizona State mandolin championship in 1990 and 1994. In 1993, at just age 12, he won the National mandolin championship. The Thile Family moved to Kentucky in 1995 where Chris' father accepted a job as a musical instrument technician at Murray State University. The early 2000s found Nickel Creek winning IBMA's Emerging Artist of the Year award, as well as being nominated for Grammies. Chris' first solo album for the Sugar Hill label was actually recorded way back when he was just 13 (back about 1994).
Among the young and restless, I wondered when the members of Nickel Creek would move on to other endeavors. The announcement was made that Nickel Creek was being put on the back burner in 2007. On the front burner, however, is Chris' vision to continue molding his own unique, creative acoustic music. It has a thoughtful and calming effect and has managed to build a legion of Thile fans. His music is special because of its joie de vivre. It just oozes with carefree abandon and joy of life. What he needs is some catchy moniker for it, just as David Grisman coined "dawg" to describe his jazzgrass.
Bluegrassers should be proud of Chris' affinity for their genre's instrumentation to present his charming arrangements. Interspersing songs from David Rawlings & Gillian Welch, Jack White, Julian Casablancas, and Jimmie Rodgers with his own meandering originals, Chris' explorations cover a lot of territory. He may not be the greatest yodeler ("Brakeman's Blues"), but he's got the spirit and occasionally likes to sing in falsetto too. And listen to his bluesy downstrokes driving the band that includes Chris Eldridge (guitar, vocals), Greg Garrison (bass), Noam Pikelny (banjo, vocals), and Gabe Witcher (fiddle, vocals). There are many crowning moments on this album, and your favorite will depend on your outlook at the moment. There are five instrumentals, and nine vocal numbers. For pure technical instrumental virtuosity, Paul Shelasky's melodic "Cazadero" allows the musicians to pick with plenty of Celtic-flavored individualism. Being a mandolin player myself, Thile's own "The Eleventh Reel" or "The Beekeeper" are also favorites. For a song with rocking influences, Chris gets rather ballsy in "Heart in a Cage" as he sings "I don't feel better when I'm fuc*ing around, and I don't write better when I'm stuck in the ground."
It sure doesn't sound like Chris' heart is in its cage. In fact, his music exhibits large and abundant heart. Whether his music is "bluegrass" or not may be subject to debate. However, when you think about it, that's really not the point. It's unimportant what label you put on Chris Thile's alluring music. Simple fact is that it's full of moxie, raw energy and saucy demeanor. On February 20, 2007, Chris Thile turns 26. I can hardly fathom what more to expect from him in the future.
Joe Ross
CHRIS THILE & MIKE MARSHALL - Live Duets
www.sugarhillrecords.com OR www.christhile.com OR www.mikemarshall.net
Playing Time - 53:00
SONGS - Shoulda Seen it Comin', Byron's, Carpathian Mt. Breakdown, I'd Go Back if I Could, The Only Way Out, Hualalai, J.S. Bach Dm Gigue (from solo Violin Partita #2), Joy Ride in a Toy Car/Hey Ho, 'Til Dawn, Sedi Donka, Tanja
With Mike Marshall in the left speaker, and Chris Thile in the right, "Live Duets" captures two virtuoso mandolin masters at work. After the opening cut of their composition, "Shoulda Seen It Comin'," we can hear one of the players comment, "We're gonna have fun tonight!" And that is no doubt why this record was made … for us to enjoy the fun and energy of their 16 strings in consummate performance. After the second cut, Mike says, "This is fun!" Based on their power and strength, the dynamic duo could very well be two super heroes in disguise. This sequel to their successful 2003 collaborative effort, "Into the Cauldron," takes us into some similarly adventurous territory. To these guys, Mandoville has no city limits. Four cuts feature one of the guys playing mandocello, and one of those (Thile's "Hualalai") actually has Marshall on both mandola and mandocello.
There are a couple ways to tune into the music of this indefatigable duet. One is to listen very intently to appreciate the sensational musical telepathy and groove happening between the two. Mandolin players might want to follow this course. Another approach is to merely relax and let the notes and rhythms casually weave their way through a Zen-like atmosphere in search of truth and understanding. To me the players' minds seem clear of all limitations as they strive for oneness in their music. They realize that there's really only one way that they can collaboratively succeed - and that is along a musical path that is straight, open, wide, and free of obstructions. A traditional Bulgarian tune, "Sedi Donka," begins with Thile demonstrating the complicated rhythm to the audience ... long, short, short, long, short, short, short, short, long, short, short. The song's genesis includes aqueous improvisation and tremolo built around the tune's unique melody.
Through invisible, their sound does have much color like a kaleidoscope. Marshall and Thile use their instruments in much the same way that Monet and Piccasso used paintbrushes. The juxtaposition of one's notes with the other's creates each piece's coloring. Notice how their sonic colors work together to produce feelings. I was very happy to see a delicate piece like Marshall's 2-minute "'Til Dawn" breathe some slower air into the overall set. With high musical intellect, good ears, and considerable sensitivity, the duo works well together to create nuance and significant emotional content. Check out their musical canvas to discover the special quality of their sound. As with most live albums, applause between songs can be a little annoying.
Joe Ross
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Flook at The Irish Cultural Centre, Hammersmith - 28th October 2007
Four gigs in four nights
The last gig was Flook at the Irish Cultural Centre, Hammersmith. Just what we needed, the perfect end to four days of gigs. Like going round to see your Mum and dad and knowing they're going to make a fuss of you, like putting on your slippers after a hard at work, or being warm indoors when it's cold and wet outside.
The Irish Centre is a small community centre in busy Hammersmith, with a cheap bar, and staff who phone up to tell you your tickets will be on the door for you. Add to that an informal table and chairs arrangement, and a host of familiar faces, and this has to be one of my favourite places. The sound isn't that good, the stage is tiny, but the bands just keep returning, so it must go to prove the atmosphere is something special.
Flook are something special too. They have something distinctive about their sound which makes them easily identifiable, and are one of the hardest working bands around, seemingly forever touring, though that may change now that the youngest Flook Maisy is here-Sarah's six month old daughter was at the back with her dad tonight ,waving and clapping her hands.
The band played a couple of new tunes [although Sarah said it'll be a while before we can expect a new album] and favourites from Haven, like Asturian Way, Gone Fishing and Souter Creek. They tell great stories too, either background to the tunes they're about to play, or just stuff that's happened. Favourite story tonight was one which involved Ed doing a Keith Richards impression!
It wouldn't be a Flook gig without JohnJoe doing a solo, this time lasting seven minutes. It was so impressive that when Brian messed up the introduction to the next tune, nobody was really aware because they were still so busy applauding the genius that is JohnJoe. Brian said it was the last time he gave JohnJoe a bodhran lesson!
I left this gig with a warm comfortable glow that's still with me now. Go and get it for yourself…
Claire Prior
Flook - Live at the Spitz, London 28th June 2007
I saw Flook last night at the Spitz, a venue at Spitalfileds Market which has been given notice to quit by it's landlords. Apparently it will become a Wetherspoons-like we need another one of those!
But we need the Spitz. Ideal for small intimate gigs,the club is upstairs, but with a lift for wheelchair access.It's a wooden floored venue that holds a few hundred people; the stage is off set along one wall, meaning the audience are able to stand around three sides of it.There's a gallery above, closed to the public, which overlooks the stage and bar area, and it was from here that Sarah Allen's daughter Maisie was able to watch the show- we could hear her cooing and gurgling inbetween sets, sharing her enthusiasm at the new 'Crooked Still' reel. Such good taste in one so young!
Flook, for those that don't know, are Brian Finnegan, Ed Boyd, JohnJoe Kelly and Sarah Allen, recently returned from having baby Maisie. They're one of the busiest folk bands around, regularly travelling around the world. It was good to hear some new material tonight- the 'Mountain' jigs, 'Night ride to Armagh' and 'Marga's Moment'. No idea whether these are working titles, correct, or just what I scribbled down, but I hope they're identifiable!
The chemistry between Sarah and Brian is incredible to watch. Sarah standing on one leg, her foot resting on her knee,and so very still.Brian constantly on the move, but both of them maintaining eye contact with each other the entire time.Swapping parts during 'Night ride to Armagh', the crossover between harmony and melody fluid and effortless.Brian plays fast and furiously.He dances and twists, up and down on the balls of his feet, constantly moving until it seems its only the microphone that keeps him anchored to the stage.
JohnJoe and Ed are the other duo in Flook, and JohnJoe was in fine form last night,entertaining as always, winking and pulling faces at the audience, trusty make up brush in hand as he plays his bodhran, until the music sucks him in and he's away, concentration and effort showing on his face. By contrast Ed is quiet, hunched over his guitar, so low that his ears are almost touching the strings and seemingly oblivious to anyone else around him.Unless of course, he's asking questions of the audience. Like 'Which two Flooks are vegetarians?' I got that one right. Tonight's question-'Which Flook does 500 press ups a day?' I'll leave you to work it out!
Claire Prior
See www.flook.co.uk for more details.
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THE COTTARS - Forerunner
www.rounder.com
Playing Time - 43:55
Whether playing their native Cape Breton or as far from home as Japan, The Cottars are received with enthusiastic audiences who clap, sing, and stomp their feet. The two brother/sister pairs are only in their teens, but their music is indicative of a group with many years of experience. The MacGillivray and MacKenzie familes met at a festival in Cape Breton in 2000. Within six months, the four kids (Fiona and Ciaran MacGillivray, and Roseanne and Jimmy MacKenzie) were performing as The Cottars, a term that refers to the Scottish peasants and laborers who arrived in Cape Breton between 1793 and the 1840s as a result of the Highland Clearances. Things have happened fast for The Cottars since then. They've toured with The Chieftains. Besides winning the 2003 Best New Artist honors at the East Coast Music Awards in Nova Scotia, it was there that Rounder Records' Ken Irwin found them "striking," "rootsy," and Fiona's voice full of "emotion and purity." And Rosie really has the Cape Breton style fiddling down. The four play piano, guitar, electric guitar, whistle, bodhran, accordion, fiddle, percussion, and tenor banjo. They all read music, as well as play by ear. Recorded in both Cape Breton and Nashville with production assistance of Allister MacGillivray and Gordie Sampson, respectively, "Forerunner" also has guest artists who add bass, bouzouki, guitar, piano, drums, percussion or cello. With the exception of guest vocalist Jimmy Rankin on "Atlantic Blue," liner notes don't indicate exactly who's playing when.
The Cottar's set on "Forerunner" ranges from the opening delicate song (Karine Polwart's "Waterlily") to a more commercial closing cover of Tom Waits' "Hold On." Other contemporary renderings come from Sinead Lohan ("Send Me A River") and Canada's Ron Hynes ("Atlantic Blue"). They also cover Waits' dramatic "Georgia Lee" at mid-set. Their repertoire also has plenty of supercharged instrumental medleys incorporating jigs, polkas, hornpipes, strathspeys, and reels. Whether slow or fast numbers, they have been arranged with verve and intensity. If Celtic-based music has an equivalent of bluegrass music's Nickel Creek, then it is likely The Cottars. Their musicianship, charisma, exuberance, sheer force and powerful energy will take them far. It will be interesting to see what directions they take. Their style and influences indicate that the four young folks have four feet in tradition and four feet in the future. They've already grown considerably in musicianship, are building a large fan base, and I see "Forerunner" as an exceptional harbinger of even greater things to come.Joe Ross
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WEST OF EDEN - Four
www.westofeden.com
EMAIL info@westofeden.com OR schaub@comhem.se
Playing Time - 41:38
Eden is a paradise full of joy and happiness. Due west of Eden, you will find the well-produced and arranged original music of this group from Sweden that has developed a personalized signature contemporary folk sound with Celtic and soft rock expression. Lead vocalist Jenny Schaub has silky smooth delivery that immediately enraptures us. This band has abundant talent, and Martin Schaub's singing on "My Kind of Town" is also an aural treat. I'd like to hear him sing more than three on the next album. West of Eden's songs like "Auburn Skies," "The Words I Forgot to Say," "True Believer," "Time," and "Ghost of You" are innovative, imaginative, lyrical, melodic, and inspirational. While often sad or incorporating nostalgic musings, the pensive messages are evocative and thought-provoking.
The band's electric guitar, fiddle, drums, and keys are supplemented with a full string section arranged and conducted by band member and multi-instrumentalist Martin Schaub. The full-bodied robust string ensemble is almost too much on "Immortal," and it might have been nice to include a couple more lean, raw-boned arrangements (without percussion and string section) on "Four" for a little contrast. Sung by Martin, "Could Have Been" appears at track ten, and it is a mellow, reflective composition in this vein. Smart move! Guests also add bass throughout, as well as whistle, banjo, dobro, or sax in spots.
"Four" has very strong material and musicianship that crosses the bridges between genres. While Celtic-based, their vision is simply to present quality music with broad appeal. It's also music to contemplate. Apparently still self-released independently, I would hope that record labels are sitting up and taking notice of West of Eden's musicianship, messages and, I dread to say it, commercial appeal. But that is a bottomline in a cut-throat, ruthless and competitive music industry. They have been together since 1995 and are deserving of a larger audience for their original music. They have a seductive kind of charm. While many of their songs "deal with how time inevitably leaves us behind," I hope that West of Eden's music isn't soon forgotten. At present, their albums can be ordered at cdon.com, tayberry.com, or at westofeden.com.
Joe Ross
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Grada - Live at The Lakeside Theatre, Nottingham 10th March 2010
It would not be right to review this evening without first mentioning the support act, Christof from the Van, as he played a key part in both Grada’s performance and in setting up the mood of the evening. His sound was typically Irish and moving with a beautiful accent. He was not dissimilar to Bob Dylan in style and atmosphere although with more tone in his voice, he is everything James Morrison is trying, and failing, to achieve. The performance he gave was simple and effortless, creating an ageless feeling that was endearing. For me the stand out tracks were Fortune Teller, a quick paced, lively and enjoyable song and Cuckoo, this had a slow, and delicate melody showing the diversity in his voice. It was overall a very impressive performance.
The key word with this band is fusion. They fuse together the old and the new and transform songs from a variety of sources into their own unique sound. There is an almost insane amount of talent on display here, a variety of instruments played superbly coupled with an ingenious song writing ability that would make any musician envious. They keep the folk story-telling tradition but give it a fresh and young twist, making it accessible and completely their own. They take songs from different time periods and countries and mix them into their own set seamlessly.
They have a big, full sound in every song they perform, in the slower ballads such as No Linen, No Lace and Back of Beyond there is a powerful vulnerability which manages to captivate the room. The performance was fluid and each instrument complimented the next perfectly, a joy to listen to. I loved the delicate melodies set by fiddle and whistle juxtaposed with the more abrupt, almost fierce sound of the guitars and percussion. The vocals were very strong from Nicola Joyce, her accent coming through beautifully making the songs haunting and textured, not unlike Clannad in some senses. There is a general comforting, nostalgic sound to the whole band. There are also a variety of vocals from other members of the band, Panama, performed by Bass player Andrew Laking and Meet Me At The Bottom Of The Hill by Guitarist Gerry Paul. both fantastic and different songs, breaking up the usual sound but still in keeping with the style of the band. The inclusion of support act Christof in certain songs made the performance colourful and gave it a friendly, ‘open mic night’ feel even though the venue was not typically intimate. They kept the audience engaged and relaxed with stories and jokes between the songs, audience participation and were just generally a charismatic group of people, particularly the guitarist. These factors made for a great night out even if the music was not to your particular taste. A must-see band in my opinion.
Overall this was a faultless performance and I am expecting great things from this band.
Anna-Alicia Knifton
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Gráda - Live at The Irish Cultural Centre, Hammersmith 21st July 2007
The Cultural Centre was strangely quiet last night. This had nothing to do with the quality of the band about to play, and more to do with the gala night of traditional Irish music in North London, in appreciation and support of fiddler Brian Rooney, who has been seriously ill.
Gráda didn't let this deter them from giving a great performance, and before long I'd forgotten how small the audience was as the atmosphere warmed up. With a mix of New Zealanders and Irish in the band the sound is great, a lively enthusiastic mix of tunes and songs.
Colin Farrell [the fiddle player, not the actor!] was missing from the line up tonight, ably replaced by talented Tóla Custy from Clare. The first set started with a set of New Zealand tunes, with Alan Docherty on flute, Andy Laking on upright bass, Nicola Joyce on bodhran, Tóla on fiddle and Gerry Paul on guitar [does anyone else think Gerry Paul bears a passing resemblance to comedian Alan Carr?!] My attention had been distracted during these tunes by catching sight of an orange on stage. I'm used to seeing all manner of drinks there, but never anything as healthy as an orange. And during the next song, the lovely 'Back of Beyond' Nicola picked it up and I thought she was either going to beat her bodhran with it, or eat it. Turns out its one of those shaky percussion things but it made me smile though!
Other favourites were a set of Tóla reels, and in the second half '18th June', taken from the new album 'Navigation'. The tunes that Gerry wrote about his first Italian girlfriend were inspiring, brilliant flute work by Al, and a rhythm section led by a solo on double bass. This was the highlight of the evening until they came back on for an encore, and played a set of reels which included the Abbey reel. I love this tune, and during it the rhythm section dropped away just leaving fiddle and flute in harmony before seamlessly rejoining. Well deserved whoops and whistles greeted the end of the encore, and I know I'll be back for more!
Claire Prior
See www.gradamusic.com for more details.
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MISTY RIVER - Willow
mistyriverband.com
Playing Time - 51:30
SONGS - Green Eyes, When I Go, Kathy's Song, Homegrown Tomatoes, The Cuckoo, Shady Grove, These Are My Mountains, Box of Lace, Blue-Eyed Boston Boy, Tammany Hall, This Town, Bright Morning Stars, Willow, Baird's Lullaby
Misty River's Americana music has acoustic tints of Celtic, old-time, folk, country and bluegrass. As a sequel to their live album, "Willow" has engaging arrangements of five originals and nine others. Haunting aires, mournful ballads, and winsome lullabies might first appear to be their greatest strength. However, the mists rise when the four talented women transition from their leisurely approach to spiritually-tinged uptempo material such as "Homegrown Tomatoes," "The Cuckoo," and "Shady Grove." The latter includes some rousing twin fiddling and tastefully rendered key changes. Their standard instruments of choice are guitar, banjo, fiddle, accordion and bass. In their own personalized approach, "Willow" also incorporates some percussion, mandolin, shakuhachi, and uilleann pipes. The production and recording assistance of Billy Oskay (bigredstudio.com) becomes apparent in certain songs.
The band includes Carol Harley (guitar, banjo, mandolin, ukulele), Chris Kokesh (fiddle, guitar), Dana Abel (accordion, piano), and Laura Quigley (bass). All four impart both lead and harmony vocals to the mix. In fact, the majority of their songs with singing incorporate 3- or 4-parts to the choruses, and they have become a key component of Misty River's rippling current. Their masterful guests include Rob Schnell, John Reischman, Hanz Araki, Doug Smith, Billy Oskay, Greg Clarke, and Tom Creegan. If there's one slight misstep on "Willow," it is the heavy double mandolin in the mix of "Tammany Hall," an instrumental with both Harley's and Clarke's mandolins. While the technique certainly imparts rhythmic intensity, it becomes a bit overbearing.
The first half of "Willow" blossoms with their covered material. When Misty River chooses repertoire, they look to the great songs of Kate Wolf ("Green Eyes"), Dave Carter ""When I Go"), Paul Simon ("Kathy's Song"), Guy Clark ("Homegrown Tomatoes"), as well as some traditional favorites. Despite the genres they draw from, their technique is to look for introspective singer/songwriter material. By the second half of this set of music, the album evolves into a very strong presentation of Misty River's original material that is both entertaining and very listenable. The finest moments occur in Chris Kokesh's trademark songs, produced with evocative messages that feature her lead vocals with nicely-blended harmonies. The title cut is rendered so mournfully that the "Willow" truly begins to weep. Accompanied by only accordion, pipes, whistles and bowed bass, the result is one that oozes with expressive emotion. Misty River's 4-part a cappella rendition of "Bright Morning Stars" is also mighty powerful. The closer, "Baird's Lullaby," written by Dana Abel, is a quiet little lyrical piece full of nature's imagery and optimism. This album is certainly not a sleeper. "Willow" is deserving of much acclaim, high recommendation, and widespread circulation. The four songbirds that flow along Misty River are similarly deserving of considerable recognition and success. I sometimes wonder why some major Americana music label hasn't picked up this band that has been around for about a decade touring, recording, writing, entertaining and …. winning.
Joe Ross
Return to the Reviews Contents Page CHRIS THILE & MIKE MARSHALL - Live Duets SUG-CD-4010 PO Box 55300, Durham, NC27717 www.sugarhillrecords.com OR www.nickelcreek.com OR www.mikemarshall.net EMAIL mike@mikemarshall.net OR Publicity@sugarhillrecords.com Playing Time - 53:00 SONGS - Shoulda Seen it Comin', Byron's, Carpathian Mt. Breakdown, I'd Go Back if I Could, The Only Way Out, Hualalai, J.S. Bach Dm Gigue (from solo Violin Partita #2), Joy Ride in a Toy Car/Hey Ho, 'Til Dawn, Sedi Donka, Tanja With Mike Marshall in the left speaker, and Chris Thile in the right, "Live Duets" captures two virtuoso mandolin masters at work. After the opening cut of their composition, "Shoulda Seen It Comin'," we can hear one of the players comment, "We're gonna have fun tonight!" And that is no doubt why this record was made … for us to enjoy the fun and energy of their 16 strings in consummate performance. After the second cut, Mike says, "This is fun!" Based on their power and strength, the dynamic duo could very well be two super heroes in disguise. This sequel to their successful 2003 collaborative effort, "Into the Cauldron," takes us into some similarly adventurous territory. To these guys, Mandoville has no city limits. Four cuts feature one of the guys playing mandocello, and one of those (Thile's "Hualalai") actually has Marshall on both mandola and mandocello. There are a couple ways to tune into the music of this indefatigable duet. One is to listen very intently to appreciate the sensational musical telepathy and groove happening between the two. Mandolin players might want to follow this course. Another approach is to merely relax and let the notes and rhythms casually weave their way through a Zen-like atmosphere in search of truth and understanding. To me the players' minds seem clear of all limitations as they strive for oneness in their music. They realize that there's really only one way that they can collaboratively succeed - and that is along a musical path that is straight, open, wide, and free of obstructions. A traditional Bulgarian tune, "Sedi Donka," begins with Thile demonstrating the complicated rhythm to the audience ... long, short, short, long, short, short, short, short, long, short, short. The song's genesis includes aqueous improvisation and tremolo built around the tune's unique melody. Through invisible, their sound does have much color like a kaleidoscope. Marshall and Thile use their instruments in much the same way that Monet and Piccasso used paintbrushes. The juxtaposition of one's notes with the other's creates each piece's coloring. Notice how their sonic colors work together to produce feelings. I was very happy to see a delicate piece like Marshall's 2-minute "'Til Dawn" breathe some slower air into the overall set. With high musical intellect, good ears, and considerable sensitivity, the duo works well together to create nuance and significant emotional content. Check out their musical canvas to discover the special quality of their sound. As with most live albums, applause between songs can be a little annoying. (Joe Ross)
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DRUHA TRAVA – Good Morning, Friend
www.compassrecords.com
SONGS - Good Morning Friend, Ring Them Bells, What It Is, Hold On, Fall Farm, Sitting On Top of the World, The Holy Wells of Old Ireland, Ossian, Goin’ to Acapulco, The Speedway at Nazareth, Caurea, Bad Moon Rising, When Death Does Us Apart, Lily of the West, Nobody Loves Anybody Anymore
Playing Time – 46:18
Czech this out! The international appeal of bluegrass music is far-reaching, and there are a number of fine groups in the Czech Republic who can relate to the acoustic nature, themes and broad appeal of the genre. It does seem that the further a group is from Appalachia, the more eclectic and independent their musical amalgamation becomes. Druha Trava (translation: “Second Grass”) provides an enthusiastic grassified spin to tunes from Johnny Cash, Mark Knopfler, Bob Dylan, Tom Waits, John Fogerty, Peter Rowan and Kris Kristofferson. Add in an original song (“When Death Does Us Apart”) and a few of their own instrumentals (“Fall Farm,” “Ossian” and “Caurea”) and you’ve got a unique blend of music with Slovak, Moravian and Czech dialects. Actually recorded in April, 2004 and then released in their country on the Universal label, “Good Morning, Friend” was then released in the U.S. in 2006 when Compass Records decided to put it out. Compass had previously distributed their Czechmate, New Freedom Bell, and Piece of Cake projects in the U.S. about 1999.
Mandolinist and vocalist Robert Krestan’s full-bodied, gruff voice sounds a bit weather-stained. But despite his raspiness, he provides a certain gusto to lines like Johnny Cash’s “Yes I'm feeling like a million since I've got you livin' in.” European audiences are not necessarily looking for that “high, lonesome sound” in their bluegrass, and Krestan’s multi-year wins of “Male Vocalist of the Year” (Banjo Jamboree Festival), “Country Artist of the Year” (Czech Music Academy), and “Best Male Vocalist” (Bluegrass Association of the Czech Republic) prove that. His gruffgrass vocals are complemented by some excellent banjo, guitar and Dobro instrumental work courtesy of Lubos Malina, Emil Formanek, and Lubos Novotny. Malina also provides some refreshing whistles to the Celtic-flavored “Ossian,” and clarinet to Dylan’s “Goin’ To Acapulco.” The band’s solid bass lines are provided by Petr Sury. Guests provide background vocals, harmonica, violin, resoradio and vibratongue (whatever those last two are). Druha Trava has collaborated on recording and touring with Charlie McCoy on numerous occasions, and his harmonica is a welcome addition to the mix of six tracks. It would’ve been nice to hear more of Stano Paluch’s fiddle than just on the three cuts including him. I was also a tad disappointed that the mandolin is relegated to a rather minimal role on the CD.
Druha Trava dates back to 1991 when Krestan and Malina left the band known as Poutnici. Within a year, the new group had won a Czech “Band of the Year” Grammy. Over they years, they’ve done considerable recording and touring, sometimes singing in their native Slavic language and sometimes including a drummer. From 1993-97, Druha Trava toured the U.S. acoustically. From 1998-2001, they toured with a drummer. Beginning in 2002, Druha Trava again began touring the U.S. as an acoustic band. Their varied presentations indicate their diversity and open-minded attitude towards finding their own niche. The all-acoustic and all-English elements of “Good Morning, Friend” will help them to continue building their American fanbase among aficionados of their new acoustic music with interpretive twists.
Druha Trava proves its familiarity with straight-ahead bluegrass (“Sitting on Top of the World”), but they tend to show more of an affinity for strong and evocative singer/songwriter fare from country and folk tunesmiths. While the contemplative lyrics are certainly interesting, the presentation of them occasionally feels like they are missing some of the relevant emotion needed to convey the sentiments. A reflective song like Dylan’s “Ring Them Bells,” for example, requires a philosophic air as it concludes “Oh the lines are long, and the fighting is strong, and they're breaking down the distance, between right and wrong.” Some enigmatic songs come from the pen of Mark Knopfler. With its references to Edinburgh and Charles Dickens characters, I believe that “What It Is” was written to evoke an environment with historical impressions and ambiance from another time and place. “Speedway at Nazareth” builds an analogy between CART racing and life -- “And the raceways were the battlefields and we fought ‘em all the way.” We learn from mistakes in life, and if we can get it perfectly right, success will be right behind. Maybe this is a perfect anthem for Druha Trava that is chasing their dreams.
The band shows a lot of optimism, perseverance and dedication even when they’re touring far from their European homeland. With Tom Waits’ “Hold On,” the message conveyed is “When it's cold and there's no music / well your old hometown is so far away / but, inside your head there's a record that's playing, a song called hold on, hold on, you really got to hold on …. “ Although they’ve already accomplished a great deal, Druha Trava is evidently focused on even greater heights. While Kristofferson’s “Nobody Loves Anybody Anymore” is more about love, I’m sure the band can relate to the greater message of “And if it don’t come easy now, It ain’t worth fighting for.” The entertaining band seems to succeed best when they’re exuberantly “Goin’ on the run, Goin’ down to see some girl, Goin’ to have some fun.” (Goin’ to Acapulco). Now isn’t that what music should be all about? Besides proficient musicianship and simply having fun, their strengths are clearly their confidence and composure with music that knows few boundaries.
Joe Ross
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Infamous Stringdusters – Fork in the Road
TheStringdusters.com OR myspace.com/stringdusters OR sugarhillrecords.com
Playing Time – 49:39
Before playing the Infamous Stringdusters’ debut, I wondered what kind of notorious or criminal musical acts that we could expect from the progressive Sugar Hill label. I also pondered if this progressive group of young and proficient bluegrass janitors used mop, vacuum and broom instead of mandolin, fiddle and banjo. It didn’t take long to discover that this band’s reputation will soon become one of great fame and renown. And the way they “sweep” us off our feet is simply with very solid musicianship and material. The terms that bands dream up to describe their music are interesting. Playing “fearless vibrograss,” we immediately sense that these guys have created a sound that is bold, daring and pulsating.
So just who are they? The band’s seed was planted when Chris Eldridge (guitar), Chris Pandolfi (banjo), and Andy Hall (Dobro) met in Boston in early 2002 and started performing as Stablehorse. Relocating to Nashville in 2004, the band went full-time with the addition of Jesse Cobb (mandolin), Jeremy Garrett (fiddle), and Travis Book (bass). Their debut album showcases the band’s three lead singers (Andy, Jeremy, Travis) and other vocal support from the two Chrises.
The Infamous Stringdusters’ musical maturity can be traced to the band members’ recording, touring or performing with such noted acts as Ronnie Bowman’s Committee, Earl Scruggs, Dolly Parton, Charlie Daniels, Tony Rice, Seldom Scene, Chris Thile, New England Bluegrass Band, Bering Strait, Drew Emmitt, Bobby Osborne, Chris Jones, Audie Blaylock, Lee Ann Womack, Mike Snider, Jim Lauderdale, Melonie Cannon, Fox Family, Valerie Smith, Broke Mountain, and Benny “Burle” Galloway. Wow, that’s an impressive list of talented musicians who have taught, mentored and inspired them! We can hear some of their influences in the musical presentation or repertoire of The Infamous Stringdusters. Chris Eldridge is Seldom Scene member Ben Eldridge’s son. Besides a healthy amount of fresh, original material, there are interspersed offerings written by Chris Jones/John Pennell, Glenn Garrett (Jeremy’s dad), John Mayer, Benny Galloway, and Boston folksinger Geoff Bartley. Thus, they don’t shy away from decent singer/songwriter and folk material which allows them to succeed equally well on the bluegrass, jamgrass and folk touring circuits.
Picking and singing like very seasoned veterans with decades of experience, these guys have found an ideal formula for balancing their youthful exuberance, melodic eloquence, and lyrical expression. Their arrangements are dynamic and give all a chance to shine like chrome. Hence, another reference to their string cleansing abilities. In a sense, they are masters of catharsis with an inherent ability to release emotions, create force and relieve tension with their music.
If you’re liberal, open-minded and tolerant of new directions in string music, then you’ll appreciate what these boys are doing with their vibrograss. If your definition of bluegrass has significant boundaries, then you might equate their infamy with evil. But the long and short of it is that this group has been well received at IBMA’s annual convention and trade show. Despite the message in the title cut, “Fork in the Road” indicates this band is both decisive and incisive. The Infamous Stringdusters knows which way they want to go to maximize their potential and reach their promised land full of milk and honey. The Stringdusters’ wires are very polished, and I just wonder if they do windows and clean house as well as they pick.
Joe Ross
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Helen McCookerybook Suburban Pastoral album out now on Big Song Records
There’s something warm and cosy about McCookerybook’s songwriting. Whether it be her ease to pen jazzy melodies or the blend of naivety, cynicism and personal freedom; Suburban Pastoral floats like a wasp on a summer breeze. While her turn of melody is light, her lyrics can be deliciously spiky.
Helen has lead a colourful life, first coming into John Peel’s favour in punk group The Chefs, and championed by our late hero, again, in her own band, Helen and the Horns. Last year Helen completed her book about female musicians in punk, "The Lost Women Of Rock" but the present day sees her wearing the role of Observational Jazzer, beautifully.
Kirsten Taylor
See www.mccookerybook.com for more information.
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Lisa Marie Glover "TEA IN THE SKY"The first song I ever heard Lisa sing was the opening track on this CD "Poor Baby" I've been a fan even since. It's quite simple really; Lisa Marie Glover is without doubt the full package. Lisa is a singer/songwriter with a maturity and skill that far outweigh her years. She is a wickedly clever and audacious wordsmith, with a voice that can send shivers down your spine one minute and have you hot under the collar the next.
"Tea in The Sky" is Lisa's debut album featuring ten of her own songs, and each one is stamped with her own unique take on life, from the sharply wry observations of "Poor Baby" through to the beautifully understated and haunting "Somewhere by the Sea." The innocently-wicked, but, oh so clever, "Barbecue Song" to an "Aeroplane Lullaby" of such soporific gentleness, it could shut Manchester airport down in the time it takes the lady to sing it! "Tea in The Sky" could be hailed as wonderful display of Lisa's talent, but when you consider that it's her debut album it's nothing short of stunning.
Now then, having said all of the above the real alchemy in Lisa's art is that she has been able to transfer the unique "now you see me, now you don't" quality of her stage performances onto CD, and that my friends, is no mean feat.
Every song on "Tea in The Sky" paints a sharply observed picture that can be revisited again and again, allowing the listener something new with each visit. All in all "Tea in The Sky" is, like the lady herself, most definitely the full package.
See Her Myspace Page for further details at myspace.com/lisamarieglover
Bill Mitton March 2007
Armoury Folk Club Magazine
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Vin Garbutt at The Port Fairy Folk Festival, Victoria, Australia
The King of Port Fairy could easily be the title of a kids' fantasy tale.... I could make it a rambling fable with larger-than-life characters peopling the royal court of a land and with a instantly recognisable, unforgettable man in the leading, title role at the centre of it all.
What would that man be like? In most fairy stories, you have your good kings and bad kings. It's a safe bet that the king of Port Fairy would be a kindly soul, showering his subjects with wisdom, good humour, inspiration, and more than a little love as he tells his tales of the world's truths, triumphs and injustices.
He might be a little eccentric in his behaviour and in his appearance. You know, a real chatterbox; given to singing at every opportunity when he was tired of talking; that sort of stuff. He might have an unfeasibly long mane of hair despite the fact he is also as bald as a coot. He might have a strange accent and softly distinctive way of speaking that offers few clues to the power and even occasional stridency of his singing voice. He might look as much like a wizard as anything else. Can you picture him?
I met the King of Port Fairy last week - Port Fairy in Victoria, Australia, that is. The sleepy fishing port comes alive for four days every year with one of the world's finest annual folk and roots music festivals.
There were larger-than-life people everywhere you looked - Luka Bloom, Ralph McTell, Eric Bibb and Danny Thompson, Habib Koute, famous peers of the folk music realm - but at the centre of it all was the King, Middlesbrough's own Vin Garbutt.
He left his subjects - the thousands who crammed into the festival marquees to enjoy his two concerts during Port Fairy's four-day feast - in no doubt that he was a good king; a true musical monarch.
It's no mean feat to become king of Port Fairy. There is a hell of a lot of competition each year and the festival-goers are a pretty knowledgeable lot. But Vin Garbutt's humour, warmth, and humanity - not to mention his incredible voice, dextrous finger-picking guitar style and virtuoso tin-whistle playing - won everyone over.
I once saw Vin Garbutt in what seems like another world. I was a 22-year-old, wet-behind-the-ears rock and roller and cynical young journo who had never seen a folk gig in his life. Vin's inspired humour and gut-wrenchingly honest songs made a huge impression and stayed with me through all the intervening years. Seeing him play in my adopted country of Australia, 27 years on, was a curious experience.
It was as though those years had not occurred; there I was, back in the lounge of the Parkgate Hotel on the Wirral, wiping away tears of laughter then tears of emotion and empathy that I scarcely knew I possessed.
Those tears rolled again in Port Fairy and I loved every minute of it; every lovely melody and every poignant lyric.I wasn't alone. Songs like Morning Informs, Down By The Dockyard Wall, Punjabi Girl, and The Loftus Emigrant ensured Vin did a cracking trade, selling copies of his Persona Grata CD on which they all feature.
Come back soon, King Vin, you're missed already.
Kevin Jones
The Age
Melbourne, March 2007.
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VARIOUS ARTISTS – North To Ontario
www.bluegrasscoot.com
GMandogene [at] aol.com OR BluegrassCoot@aol.com OR TJMcCreight@aol.com
Playing Time – 1:03:46
I wish that every State, Region, Country throughout the world would produce hour-long compilation samplers of their local bands. What a great way to get acquainted! The Canadian Province of Ontario has proven to be a hotbed of musical activity where folks have supported such collaborative ventures such as Jordy Sharp’s “Orchard Sessions” and Tony deBoer’s “A Touch of Canada.” Thus, guitarist/singer Gene Gouthro and bassist Tom McCreight decided it was time for a strong sampler of Ontario’s bluegrass music. Gene, in fact, wrote the title cut which appears at track #7 of the twenty songs on this ambitious project. On his 2003 motorcycle trip south to the Blueridge Mountains, Gouthro realized how much his friends, family and home in Ontario meant to him.
All told, eighty musicians were involved in the making of “North to Ontario.” Every one of the songs is 100% Canadian original, and we even get to hear the songwriters as part of the bands in every case but one (Melissa Sherman’s opening cut, “Deal the Cards” performed by Hard Ryde). Throughout the album, we hear many of the winners of the annual Central Canadian Bluegrass Awards presented each year in November by the Northern Bluegrass Committee. One example is Foxtail’s tenor singer, Nora Galloway, who has won Best Female Vocalist in 2005 and 2006. Perhaps the best-known musician in the set is multi-instrumentalist Emory Lester who plays all instruments in a collaboration with guitarist/singer Laura Bird to close the album with Bird’s “Heavy Load.” Lester also plays mandolin with The Project Band’s title cut.
This album has sounds based in tradition. Some lead vocals and instrumental work is stronger than others, but that is to be expected. There are plenty of smooth harmonies. There are bands that sound very entertaining. For it sheer variety, it makes sense that this album was named “Recording of the Year.” Many of the featured bands can be seen live each year at such festivals as the River Valley Bluegrass Jamboree in August. Contact information and website links are also provided for all of the eclectic bands on “North to Ontario.” For a great overview of Ontario ‘grass, this album is just the ticket. Ontario may have awe-inspiring natural wonders, but the region is also building a reputation for some phenomenal bluegrass music too.
Joe Ross
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SILVERBIRCH – Out On A Limb
www.bluegrasscoot.com
BluegrassCoot [at] aol.com OR TJMcCreight [at] aol.com
Tel. 705-228-8426 Playing Time – 33:33
Until recently making the acquaintance of Tom “Ol’ Coot” McCreight, I’d never had the pleasure of hearing Silverbirch, a fine bluegrass band based in Ontario, Canada. Their 2005 album’s title, “Out On A Limb,” represents the risk they took releasing an album of 100% all-original material. Their handpicked sound indicates that Ontario provides a fertile field for soulful bluegrass. Some of their own tunes work better than others, and I took an immediate liking to the up-tempo “I Don’t Miss You” and evocative “Red Creek Hill.” It would’ve been nice if each songwriter provided a few sentences about their inspiration for each song. With its pro-environment message, I presume “Red Creek Hill” speaks to the potential environmental damage due to the $220 million Red Hill Creek Expressway’s construction through 2007 that will primarily benefit long-distance truckers and land developers on Hamilton Mountain. As they sing “you won’t hear the Red Hill Creek playing its song,” I found it heartwarming that they were able to voice a position and take a stance about a controversial regional issue such as this in their Ontario region. Some of their other songs are just too generic to make much impact, but their two instrumentals (“Chance of Rain” and “Stomp”) are excellent toe-tapping showcases, particularly for the driving banjo of Stefan VanHolten. The rest of the group includes Doug Moerschfelder (guitar), Gene Gouthro (mandolin), and Tom McCreight (bass). While no one stands out as an exceptional lead singer, Doug, Gene and Stefan share the honors. This tells me that they are working cohesively as a team, and everyone is contributing productively to the band’s collective presentation. “Follow the Son” and “The Pathway’s End” are gospel songs that serve both the music and their messages. When they record again, a hot guest fiddler or Dobro-player would enhance some of their material that has a traditionally-derived bluegrass cornerstone.
Joe Ross
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Jim Malcolm – Acquaintance (Beltane Records BELCD105) I’ve admired Jim Malcolm as both a singer and songwriter for many years but, for those of you unfamiliar with this engaging performer, Jim (to me anyway) is a more subtle version of Dick Gaughan and on this, his seventh solo recording he has decided to rely on the songs of another fellow countryman, Robert Burns. Now before a majority of the British folk world stick up their hands and say “…jumping on the Eddi Reader bandwagon are we?..” I must admit to wishing that Malcolm had recorded a full blown Burn’s album for quite some time. If you purchase this disk you will be rewarded with expected standards such as “A Man’s For A’ That”, “Parcel O Rogues”, “My Love Is Like A Red Red Rose” and of course “Auld Lang Syne” here set to the original, more melancholy melody even though there is the concession of the more popularist version sneaking in at the end. The album may prove less energetic than in his days with Old Blind Dogs relying on a more laid back approach in production joined by Fraser Stone (percussion), Pete Clark (fiddle), Stuart Duncan (keyboards) and Sheila Blige (oboe) but without doubt the surprise of the project is Jim’s wife Susie who provides backing vocals throughout and even the lead on “The Ploughman”. Perhaps not in your face this is more a case of a “listeners” album and one that will definitely grow with repeated plays.
Pete Fyfe
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Voces Del Sur - Senderos Voces Del Sur are an Edinburgh based quartet fronted by vocalist Valentina Montoya Martinez accompanied by David Russell on guitar, Bassist May Halyburton and percussionist Argentinian Gerardo Ballersteros. The Quartet started its existance as a duo composed of Martinez and Russell going by the name of Amor Brujo before being joined by Halyburton and Ballersteros. Martinez is the daughter of a former Chilean Political Prisoner and her family were forced into exile in 1977, one consequence of which is that she was surrounded from an early age by the folk music of her native Chile and indeed other parts of Latin America, so much so that by the age of 12 she was singing and playing her native Chilean Folk Songs and developed an affinity for Argentian Tango as a result of hearing her Mother's records. This early immersion in Latin American Traditional music and song has served her well both on the current recording and during her work with her Tango band '!QuE Tangazo!', and her earlier Tango work with 'Mr McFall's Chamber.
'Senderos' is the first recording of the quartet and consists of an impressive 15 tracks reflecting a range folk songs and traditions of a number of Latin America nations including of course Martinez' native Chile. The songs themselves range in subject from 'El Cosechero' (The Harvester) describing the life of Cotton Field workers to love songs including 'Los ultimas Palabras'. Given the tragedies, upheavals and hope that the Latin American continent has experienced over the course of the last century, it is right that a recording of folk songs from the continent would be reflective of this and these themes flow through 'Senderos' with the opening track being a tribute to Che Guevara through to 'Las Utimas Palabas' incorporating the words of Salvador Allende last speech as Chilean President. What all of the songs have in common is the affinity the quartet clearly have with the song and music, from the melancholic to the more buoyant such as the closing track 'Zambo Lando' with Martinez' vocals encouraging the listener to listen to every word, indeed she has the ability to make it appear that every word has its own prominence and importance within the story being told. Russell, Halyburton, Ballersteros and Martinez herself on rhythm guitar provide talented and sensitive playing which has produced a thoroughly agreeable listening experience, certainly one I will repeat again and again I suspect.
The only criticism I would make is that it would have been nice to have further information and perhaps translations on the songs and background on the music included on the inlay card, I would expect to hear considerably more of Voces Del Sur in the future with perhaps gigs and tours slighty further afield, headlining the local Latin American festival perhaps ?
For further information and clips visit their myspace page at myspace.com/vocesdelsur
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Lorraine Jordan and Carolina Road - A Stop in South Port Towne
http://www.bluecirclerecords.com OR http://www.carolinaroadband.com
SONGS - Tupelo County Jail, My Old Kentucky and You, A Stop in Southport Town, Pickin’ With The Boys, Cry Cry Darling, Take Me Back to Kentucky, A Beautiful River of Life, A Portrait of the Blues, I’m Not Alone, I Just Think I’ll Go Away, Mays’ Store, My Hearts Cry Playing Time – 31:03
I listen to a ton of bluegrass, and there just aren’t many albums that I put on and listen to four times in a row. Lorraine Jordan and Carolina Road’s “A Stop in South Port Towne” is one that earned four spin fame on my CD player. The group is clearly one of the “most happening” today. Their emergent stardom is largely a result of their hard work, dedication to a traditional sound, and an ability to present it with charisma and conviction. Their timing is impeccable, and they chose material that keeps the toe tapping throughout. For this project, their inspiration came from another North Carolina band – The Bass Mountain Boys. Recording some of the good clean, fan-friendly songs that they arranged and made popular, Lorraine Jordan and Carolina Road acknowledge these mentors. Known for their varied vocal arrangements, as well as instrumental prowess, the band’s only fault is that this set doesn’t run for more than about a half hour.
Lorraine is very proud of their traditional music foundation. Songs from Bill Monroe and Carter Stanley reinforce that respect. At the same time, they cover songs like “Tupelo County Jail” and “A Beautiful River of Live” with more contemporary style and slant. The latter comes from the pens of Tom T. and Dixie Hall, who now have this band on their new record label’s roster. Perhaps what really makes me sit up and tune in are the five masterfully-crafted originals from mandolininst/vocalist Lorraine Jordan and guitarist/vocalist David Guthrie. “Picking with the Boys” has a tongue-in-cheek hook, not sexist mind you, about picking bluegrass instead of being “home banging on pots and pans.” Her heartwarming “Mays’ Store” is another sentiment related to the delight of front-porch pickin’ every Saturday night. The title cut has a similar tempo, is also sung by Tim Hall in a warm story-teller’s fashion, and even has a few riffs in harmony. David Guthrie’s “My Hearts Cry” closes the project with his tenor voice climbing sky-high into the clouds just as it does earlier on “Cry, Cry Darling.” The band knows what it takes to achieve that high, lonesome sound. Bassist Tim Hall is credited with playing bass guitar, while guest Zack McLamb is listed for acoustic bass. Consummate banjo-player Ben Greene (formerly with The James King Band) provides a crisp snap to their drive, and he also lays in a nice baritone harmony when needed. Liner notes could’ve been a little clearer on who is singing when. With Josh Goforth fiddling and singing too, the group’s got a complete, jam-packed sound that is guaranteed to satiate every audience’s bluegrass craving. This band is on the rise! The multiple award winners’ hard work is paying off. “A Stop in Southport Towne” is but one more milestone along their ascending journey to even greater acclaim.
Joe Ross
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Keith Kendrick – Songs From The Derbyshire Coast (Wild Goose Records WGS 337CD)
I’ve long admired Keith’s singing since we first met at Rochester Sweeps festival many years ago. For some reason though I’d never heard any of his solo recordings. Now this has been happily rectified. With some irony (he’s based in Derbyshire) and armed with more than a fistful of maritime songs this CD is like the proverbial breath of fresh air. Having recently worked alongside Keith on several occasions it is obvious that he has an affinity with the sea based songs that are liberally sprinkled throughout and with his beautiful resonant tone on the ‘Lowlands Of Holland’, ‘Sally Free And Easy’ and ‘The Sailor’s Prayer’ these hoary old chestnuts are given a new lease of life. On the less established numbers such as the jaunty bar-room sing-along ‘Beulah Land’ you’ll find yourself joining in the chorus and if not – why not? Joined by musicians including John Adams, Ralph Jordan and Sylvia Needham it is obvious that everyone had a great time recording this album and it conveys well to the listener. Do yourselves a favour – if you like your music to bring a smile to your face this will definitely be an album worth purchasing.
Pete Fyfe
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Casey & Chris and the Two Stringers – Get Along Girl
www.twostringers.com
EMAIL caseyandchris@gmail.com
SONGS - 1. Two Hands on the Wheel (N. Pate), 2. Walkin' West to Memphis (C.B. Henry), 3. Going Back to Old Virginia (D. McLaughlin), 4. Sound I Hear (S. Jones), 5. Leroy and Liza (C.A. Henry), 6. One Foot in the Graveyard (C.B. Henry),7. Counting on the Stars (C.B. Henry), 8. Hold Back the Waters (W. McLean), 9. Change of Heart (C.B. Henry), 10. Pass the Eagle (C.B. Henry), 11. Sad Woman from the Country (C. Brashear), 12. Pitiful Life (C.B. Henry), 13. Got Sweet Heaven in My View (S. McCandlish) Playing Time – 41:25
Who They Are: Casey was born in Florida, moved to Virginia at age eight, and now lives in Nashville. She grew up playing bass with her family group Red and Murphy and their Excellent Children. In 2000, Casey graduated from the University of Virginia. In 2001, she recorded a banjo album called "Real Women Drive Trucks" and joined up as bass-player with Tim Graves and Cherokee. She’s also worked with Uncle Earl and Jim Hurst. In 2004, Casey recorded with the Tennessee Heartstrings. In 2005, “Casey & Chris and the Two-Stringers” formed with brother Chris Henry (mandolin), who previously had worked with Dave Peterson and 1946.
What They Do: Carefully calibrated traditional bluegrass with youthful exuberance and an original focus.
The Songs: Eight of the 13 songs are originals with the others coming from David McLaughlin, Sally Jones, Nancy Pate, Will McLean, and S. McCandlish. Chris’ songsmithing shows considerable promise and potential with the bluesy “Walkin’ West To Memphis,” “Counting on the Stars,” “Change of Heart,” an instrumental “Pass the Eagle,” and “Pitiful Life.” “Counting on the Stars” establishes a nice traditionally-sounding groove (albeit without fiddle) as it recounts a fictionalized tale of a king who bases his military decisions on astrology. “Hold Back The Waters” is a disaster story of a 1928 huricane and flood in Florida’s Lake Okeechobee. Tyler has a fluid lead guitar style and he adds some strong guitar rhythms to push the pulse in the band sound. “Leroy and Liza” is a peppy instrumental that gets it title from the names that Frank Wakefield used for Chris and Casey. The stimulating gospel song “Got Sweet Heaven in My View” is a favorite. Chris’ apparent muse is Bill Monroe, and he combines some fiery sixteenth notes on the uptempo pieces (“Too Hands On The Wheel”) with smooth downstroke and tremolo techniques on the slower numbers (the ¾-time “Pitiful Life”). If Chris owes inspiration to Monroe, then Casey could also claim her crisp, consistent approach on banjo owes to Earl Scruggs. Their duet singing shines luminously in Chris’ song, “Walkin’ West to Memphis,” that conveys some raw and rootsy sounds characteristic of a brother act like The Delmore Brothers. But their crowning moment for both vocals and instruments could be “Pitiful Life.”
The Musicians: In addition to Casey (banjo) and Chris (mandolin), the solid band is Tyler Grant (guitar), Missy Raines (bass), and Shad Cobb (fiddle).
Any Recommendations: Casey and Chris could work on their vocal blend a bit more. Casey vocalizes with an assertive lead that makes us sit up and pay attention on “Hold Back The Waters” and “Sound I Hear.” More tonal quality and dynamics in their voices will elevate them to the top of the bluegrass game.
The Bottomline Is: Effective and convincing bluegrass with a heaping helping of tradition and a profusion of enthusiasm.
Reviewed By: Joe Ross
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Sam & Elaine Bracken With Dave Shannon
(Live) Tuesday 21st November 2006
Longridge Folk Club - Royal British Legion Club
Townley Road, Longridge, Nr Preston. PR3 3EA.
Ron Flanagan & Brian Preston have been running folk clubs in Lancashire for 35 years. In that time they have presented over 1000 guests nights. On Tuesday 21st November last their very special guests at Longridge Folk Club were:
Sam Bracken: a Belfast boy, of these shores since 1969, now resident in Kendal, Cumbria. Superb laid back lead and harmony vocals, guitar virtuoso playing a wide range of superb hand made guitars by Roger Bucknell of Fylde Guitars. Late of Therapy, Five Hand Reel and of no mean reputation as a solo performer, raconteur and wit.
Elaine Bracken: Born in Darlington, moved to Prescot, Merseyside at two months old, since 1981 abiding in Cumbria. Lead and harmony vocals of quality, passion & power with great personality and smile. Flautist extraordinaire playing a Rudall Rose flute. Ex 'Seoda Ceoil' member along with luminaries Shay Black, Mick & Martin Dunn.
Dave Shannon: Another obscenely talented Belfast boy. Came over on the same boat as his friend Sam in 1969. Now resides in Sale, Cheshire. Lead & harmony vocalist of immense talent, class and subtlety. Fantastic guitarist, plays an original classic Epiphone 'Texan' and 'Fylde' Guitars. Great dry wit. Ex BBC Producer for 20 years - Just Retired. Ex of the very popular 70's & 80's trio 'Therapy', along with Fiona Simpson and Sam Bracken. A very nice man with all his own hair & teeth.
Well where to start, a full house, great atmosphere and anticipation to see and hear this fantastic trio: For Dave & Sam this was only their second gig together in 20 years.
What a night it turned into. They chose to play acoustically, the balance of instruments and vocals was perfect, there was space within their music for everyone, nothing hogged the show, no one was to loud, there was no competition, and each was comfortable with their contribution and that of their compardraies. All this is borne of age and experience. You cannot teach it.
Their material ranged from the traditional 'P Stands for Paddy' led by Sam's superb laid back vocals to Elaine's unusual bluesy rendition of 'When a Man's in Love', backed by slide guitar.
On the contemporary side they gave us a fantastic version of Richard Scindell's 'Ballad of Mary Magdalene' & Tom Waits 'The Heart of Saturday Night'.
Tunes ranged from traditional jigs & reels to superb ragtime renditions of amazing dexterity.
So to sum up the performance, almost two one hour spots passed far to quickly,
it was one of those magical nights you can tell your friends 'You were there'.
Three superb individual vocal & instrumental talents, collectively blending to produce an evening that made you feel that you were among friends, an evening that you can't wait to come around again, a performance that would serve as a benchmark to others.
Brian Preston.
Longridge Folk Club.
Tuesday 28th November 2006.
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Various Artists – The Radio Ballads (Gott Discs)
The Song Of Steel – GOTTCD047
The Enemy That Lives Within – GOTTCD048
The Horn Of The Hunter – GOTTCD049
Swings And Roundabouts – GOTTCD050
Thirty Years Of Conflict – GOTTCD051
The Ballad Of The Big Ships – GOTTCD052
The Songs Of The Radio Ballads – GOTTCD053
The original Radio Ballads produced by Ewan MacColl and Charles Parker in the 1950’s were to prove an iconic benchmark in British recording history. They have now been updated with John Tams as musical director at the helm providing an articulate voice and whose contribution is immeasurable to the project drawing on his own roots and much like Fred Dibnah and Jack Hargreaves (although I don’t believe either sang!) before him Tams conveys a sense of pride and passion that runs deeper than most. Each of the six disks are crafted with a loving skill that isn’t often found in these throw-away days but producer John Leonard and interviewers Vince Hunt and Sara Parker rise to the challenge with the listener being invited like an interloper into the lives of some ‘real’ characters – a bit like Creature Comforts for the radio if you like. You can almost taste the stale air in drawing rooms as stories unfold and revel in the excitement of the fox hunt which, although perhaps not politically correct in this day and age conjures colourful pictures of the meetings with the riders in all their splendour. The opinions of both parties (those for and against) are given a chance to air their views and as I sit listening to these glorious recordings the power of the spoken word appears more potent than ever. With a sense of theatre including the sounds of hammer on steel and the clatter of hooves on cobbled paths underpinning the production every nuance of our quintessential heritage is brought vividly to life. In stark contrast to our traditions, there’s no shirking of responsibility either with one of the CDs (The Enemy That Lives Within) concentrating on the controversial and contemporary issue of living with HIV/Aids. Of course no self-respecting production of this calibre would be complete without a galaxy of ‘folk’ superstars and those lending more than a hand include Jez Lowe, Bob Fox, Martin Simpson, Dave Burland, Cara Dillon, Kellie While and Kate Rusby to name a few. In my humble opinion this set of six CDs (OK - perhaps not officially a boxed-set) is one of the crowning glories of the British folk scene and everyone involved from Bryan Ledgard’s exquisite sleeves to Gott Discs for making sure they were issued this is a stunning achievement.
More info from www.gottdiscs.com
Pete Fyfe
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THE WILDERS – Throw Down Wilderscountry.com
EMAIL mail (at) wilderscountry.com
Playing Time – 44:52
Who They Are: A unique and rambunctious stringband, from Kansas City, that formed in 1996
What They Do: Good old-time all-American country honky tonk
Little Known Facts: Betse Ellis grew up playing classical music, but listening to The Who, Talking Heads, The Police, and other punk/new wave groups. Ike Sheldon attended college in Missouri and studied opera. The band has played Winfield, Ks., Branson, Mo, Nashville, Tn., and many points between. For more info on their fan club, see http://www.wildersfanclub.com/
The Songs: Seven of the 14 songs are originals (plus Ike Shelton’s additional music and lyrics for Hank Williams’ “Won’t You Sometimes Think of Me”). The band likes to boogie with covers like Johnny Cash’s “Belshazzar” and Hank’s “The Blues Come Around.” There are plenty of new fresh old-time sensibilities in original fiddle tunes like Betse Ellis’ reeling “Goat Creek” that impart spirit to one’s feet.
The Musicians: Lead singer and guitarist Ike Sheldon is solidly accompanied by award-winning fiddler Betse Ellis, multi-instrumentalist Phil Wade (dobro, banjo, mandolin), and bassist Nate Gawron.
Of Special Note: A feather in their bonnets is the fact that this CD was engineered and produced by Dirk Powell at his Cypress House studio in Beaux Bridge, La.
Any Recommendations: I recently also heard “Squirrel Hunter” on The Tallboys’ “Yeah Buddy” album, and that tune would really come to life with a little more tempo and drive imparted into it on this CD.
Their Bumpersticker Ought To Say: We’re tight and a bit obstreperous too!
The Bottomline: A skillful, entertaining band with a formidable and captivating persona
Reviewed By: Joe Ross
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Natalie MacMaster – Yours Truly (Koch Entertainment 5026)
If it hadn’t been used as a title before ‘The Swaggering Jig’ could best describe the opening track of this latest recording by Canadian diva MacMaster but then again I suppose ‘The Volcanic Jig’ is quite an apt description. That’s not meant in anyway to put the melody down as it has that in your face quality covered in other quarters by the likes of Michael Flatley’s Lord Of The Dance. There’s real bravado in the performance that says I’ll take no prisoners - and that’s one of the things I like about Natalie, she isn’t perhaps as subtle a player as say Eileen Ivers but then again I’m glad she’s not because at least she courts controversy amongst fellow fiddle players who either thrill to her no holds barred approach or those that remain aghast at her brashness. There’s a real showman just champing at the bit (as is the case with a lot of Canadian folk bands these days) and I for one applaud the sense of dramatic that allows for a far rockier edge to override without pussyfooting on the arrangement. Sparring with Highland pipes on the second track ‘NPG’ there’s a real sense of Battlefield Band meets Eric Weissberg (Duelling Banjos) whilst ‘Flea As A Bird’ sees Natalie harking back to the good old days of her Scottish roots. The one concession to a (proper) vocal is ‘Danny Boy’ featuring the singer Michael McDonald and boy, what a great track it is with a lovely arrangement that appears very un-Natalie like on the disk. OK so, she might not be shy in coming forward but we as an audience should appreciate a forthright approach every now and then let ourselves loose from the confines of the tradition. She obviously enjoys and appreciates the musicians and members of her family and although some might feel the final track is a little too personal I feel there could be no better tribute than with a James Stewart moment. By the way, did I mention I love this album!
Details from the website at www.nataliemacmaster.com
Pete Fyfe
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Michael Cleveland – “Let ‘Er Go Boys!”
www.mikecleveland.com
EMAIL lcalista@rounder.com OR roeent@bellsouth.net
SONGS - Old Brown County Barn 2. Night 3. Bright and Early 4. Old Man and His Fiddle 5. Durham's Reel 6. Montana Cowboy 7. Dark as the Night, Blue as the Day 8. Sugar in the Gourd 9. Stone's Rag 10. Hello City Limits 11. Hopelessly in Love 12. Old Mountaineer 13. Flower Blooming in the Wildwood 14. Old Joe 15. Sugar Tree Stomp 16. Miller's Cave 17. Cacklin' Hen Playing Time – 54:36
Who They Are: Michael Cleveland has been in 3 top bluegrass bands fronted by women (Rhonda Vincent, Alison Krauss, Dale Ann Bradley). Now he's poised to launch his own band, Michael Cleveland and Flamekeeper featuring Audie Blaylock. The three-time Fiddle Player of the Year has the musical and business acumen to take it far.
Little Known Facts: Michael Cleveland hails from Louisville, Kentucky. Blind from birth, he began playing fiddle at age 3. In 1993, he gained national attention at age 12 when he appeared at the IBMA Awards Show with Chris Thile, Josh Williams and other youngsters. There he met Alison Krauss, who invited him to perform on the Grand Ole Opry that same year. Also at the 1993 IBMA events, he jammed with another blind performer, Doc Watson, which became a highlight of the documentary film "Gather at the River." His hobby is collecting pocket knives. In 1999, he graduated from high school and began performing with Dale Ann Bradley and Coon Creek. In 2000, Michael joined Rhonda Vincent and the Rage. In 2001, 2002, won IBMA award for Fiddle Player of the Year. In 2001, re-joined Dale Ann Bradley and Coon Creek. In 2002, won IBMA award for Instrumental Recording of the Year ("Flame Keeper"). In 2004, won IBMA Award for Fiddle Player of the Year and Instrumental Album of the Year ("Live at the Ragged Edge" with Tom Adams).
The Songs: With this 17-tune collection, Michael has assembled some fine talent to guest. Whether sawing the strings with banjo pickers Pete Kelly (“Durham’s Reel”) or with Charlie Cushman (“Stone’s Rag”), Michael knows that making it upbeat and danceable is what it’s all about. Then, a carefully cultivated love song like “Hopelessly In Love” (co-written by Cleveland with noted Michigan songsmith Pete Goble) is as compelling as the others are danceable. The inspired and inspiring musicians include Audie Blaylock (lead guitar) and Rob Ickes (dobro). Auspicious moments on the CD occur when lesser-known Bill Monroe instrumentals, “The Old Brown County Barn” and “The Old Mountaineer” are served up. Michael showcases his consummate mandolin skills. Knowing that bluegrass fans expect top-notch vocals too, he invited some critically-acclaimed singers to the party on “Montana Cowboy” (Del McCoury) and “Old Man and His Fiddle” (Larry Sparks) and “Dark As The Night, Blue As The Day” (Vince Gill and Dan Tyminski) and “Night” (Dale Ann Bradley, Jeff White, Audie Blaylock).
The Bottomline Is: Michael’s fast playing is potent and thrilling, but it can also offer beautifully slow melancholic moments.
Reviewed By: Joe Ross
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DEAD MEN’S HOLLOW – Two-Timin’ http://www.Deadmenshollow.com OR http://www.Acousticamericana.com
EMAIL claybergm@deadmenshollow.com OR moseyrog@dcaccess.net
Playing Time – 58:26
SONGS - 1. Cuckoo [traditional] 3:27, 2. Grandma Was a Cropduster [B. Peirce] 2:48, 3. The Night You Hung the Moon [M. Clayberg] 3:32, 4. Calling My Children Home [Lawson/Waller/Yates] 2:50, 5. Old Yeller Dog [traditional] 2:25, 6. The Storm [C. Fox, M. Clayberg] 3:35, 7. A Tale of the Week [R. Clayberg] 3:19, 8. Same Old Day [C. Fox, M. Clayberg] 2:58, 9. Wayfaring Stranger [traditional] 4:06, 10. Red Eye Home [B. Hardesty] 2:59, 11. Glory Land [traditional] 2:31, 12. Tombigbee Waltz/High Up on Tug [traditional] 3:09, 13. Darlin' Corey [traditional] 3:16, 14. The Longest Train [traditional] 4:34, 15. But You Don't Love Me [M. Clayberg, B. Hardesty] 4:05, 16. The Seventh Day [C. Fox] 3:07, 17. Wither's Rocking Hymn [traditional] 4:39
Dead Men’s Hollow gets their band name from a rowdy, shady Virginia area of saloons and pawn shops after the Civil War. Formed in 2001, the band’s “acoustic Americana” emphasizes old-time (“Cuckoo,” “Old Yeller Dog”), gospel (“Glory Land”) and country blues (“The Longest Train”) with three women singing harmonies. The band includes Belinda Hardesty, Caryn Fox, Mike Clayberg, Bob Peirce, Amy Nazarov and Marcy Cochran. All six provide an a capella version of Doyle Lawson’s “Calling My Children Home.” Their acoustic instrumentation features fiddle, bass, mandolin, guitar, resonator guitar, mandolin, banjo, cuatro and khabas. Guest artist Dan Mazer joins them on three cuts, and he imparts some bluegrass banjo flavorings to “Grandma was a Cropduster,” “A Tale of the Week,” and “Glory Land.” The former, written by Bob Peirce, is an imaginative fictional account of a high-flying woman. It enlists the support of Ron Goad on backing vocals. “A Tale of the Week,” written by Mike Clayberg’s father Richard, is described as “operetta-grass.”
Although occasionally a bit too methodical, the vocals are mournful while also having an earthy and warm feminine element. Band members have prior experience singing madrigals, playing in rock and blues bands, studying music, teaching school, and writing country heartbreakers. In true collaborative fashion, each band member brings things to the table that make for a convincing and cohesive musical presentation. Their instrumental work isn’t flashy, but it has whimsical old-time charm. All told, these 17 tracks have an alluring quality that is sweetly simple and expressive, illustrated best in the album’s closer “Wither’s Rocking Hymn.”
Joe Ross
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Banda Celtamericana – Banda Celtamericana
This album really should be called Banda Irishiana due to the predominant musical influences of both Chile and Ireland. Just glancing through the titles of the tunes I felt at home with the Celtic connection side of things but it took a while to get past the fact that these melodies were performed by a Chilean band. The cross-culture works reasonably well on “The Butterfly” although perhaps less well on the sets of jigs and reels. I’ve always liked the approach of Chilean musicians who utilise pan-pipes but unfortunately there’s none that I can detect here, only whistles which don’t have quite the same feel. This album to me is an oddity rather than a necessity but still quite pleasant in a quirky way.www.bandaceltamericana.cl
Pete Fyfe
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MOON MOUNTAIN RAMBLERS – Borderline
http://moonmountainramblers.com OR http://www.myspace.com/moonmountainramblers
Email: musicmakers@bendbroadband.com
Playing Time – 46:16
1. Heart of the Matter, 2. Firedancer, 3. Blue Man, 4. First Impressions, 5. Borderline, 6. Desert Sea, 7. Mate' Squared, 8. The Swinging Sultan, 9. Hire Somebody, 10. Ice Nine
“Borderline” keeps the good-time vibe going that the Moon Mountain Ramblers established with their self-titled 2004 album. Playing all original music, influences include David Grisman, Del McCoury, Doc Watson, Led Zeppelin, Pink Floyd, and the Beatles. Their self-described “high-desert soulgrass” sound is rather quirky. Built on more of a jazz and blues, than bluegrass, foundation, the combo likes to embark on polyphonic sprees and improvisational interludes. Some feel like they tend to wander just a bit. Just as you think you’ve got them pegged, they’ll throw us a curve like the country blues flavored “Blue Man.” Known for his fine mandolin picking, Joe Schulte plays some banjo on that one. Another added dimension on this album (as compared to their first) is Mai Hyman’s dobro and slide guitar on his “Borderline.” Hyman handles most of the lead vocals, and he sings soulfully in a low register. Although a mournful song like “Desert Sea” comes across a little melancholy, their lyrics are introspective. I wish this album would’ve included lyrics in the CD jacket as their first album does. The crowning moments here are Dan McClung’s “The Swinging Sultan” and “Hire Somebody,” that capitalize on each band member’s abilities and reinforce their signature free-form bluesy sound. The closing number, “Ice Nine,” is just a little too far-out for me and with too many effects on Jenny Harada’s fiddle. There is a lot of fantasy in their meandering music, and some of their more melodic numbers are also curiously fascinating.
Joe Ross
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GRAY SKY GIRLS - Self-titled
EMAIL Phil [at] americanmelody.com OR info [at] grayskygirls.com OR lisa [at] lisabastoni.com http://www.grayskygirls.com OR http://www.americanmelody.com
SONGS: You're Running Wild, Sea of Heartbreak, Texas Rain, Daisy, Shady Grove, Sylvie, You Are My Sunshine, Hard to Love You, Just Like Home, Bury Me Beneath the Willow, Alaska, Can't Look Away, Golden Slippers, Oh Susannah
The Gray Sky Girls (Naomi Sommers and Lisa Bastoni) met in 2004 when a Somerville, Ma. punk rock dive decided to branch out and host a short-lived folksingers’ open mic. Discovering that they had much in common (love of traditional music, vegetable juice, oat bran, Bob Dylan, and having no middle names), they decided to form an old-time country “slowgrass” duo. The singer/songwriters are proponents of a simple, basic approach that emphasizes close vocal harmonies with organic, earthy perspectives. While singing in close harmony like a couple of mountain songbirds, their rustic instrumental work (on guitar, mandolin, banjo, flute) works fine to complement their folksy song selection. Their subtlety becomes their strength. The result is very personable and soothing music that is full of charisma. Traditional sensibilities draw on repertoire like Oh Susannah, Golden Slippers, Bury Me Beneath the Willow, You Are My Sunshine, and Shady Grove. Their melodic rendition of “Sylvie” is quiet and soothing, practically classifying as a lullaby.
On a more contemporary vein, the girls with a shared affinity for organic, dried mango also present three originals apiece. Whether singing emotionally-wrought sentiments (“Hard To Love You” and “Can’t Look Away”), a soldier’s nostalgic longing for home (“Just Like Home”), or about abandonment, uncertainty and insecurity (“Texas Rain”). The Gray Sky Girls have a knack for songcrafting in a concise, straightforward, understandable style. For example, Lisa Bastoni’s “Daisy” paints a vivid portrait of carefree happiness with a greasy-haired spring wildflower in overalls. Naomi Sommers’ “Alaska” is a comforting tale of wanderlust that also captures the duo’s pioneering spirit. I’d like to hear more songs about the characters they meet on their itinerant journeys, playing at folk festivals, coffeehouses, or busking in subways. Or perhaps even a song about the lonesome, swooping swallows that they brought home on their forearms from a Kansas tattoo parlor.
Both Lisa and Naomi have released previous albums, and their self-titled debut album is on Phil Rosenthal’s American Melody label. Both have been recognized as up-and-coming folk artists. Naomi is a 2004 Kerrville, Tx. Folk Festival New Folk finalist, and Lisa was featured in the 2002 Falcon Ridge Folk Festival Emerging Artist Showcase. The Gray Sky Girls toured the midwest for two weeks in 2006, and they are now planning a west coast in early 2007. Groups don't need a lot of hot, flashy licks to build a signature sound, become highly sought after, and build a legion of fans. In harmony with nature, the Gray Sky Girls’ heartening music is very inviting for audience participation too. Their youthful exuberance and boundless enthusiasm will take them far.
Joe Ross
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Life And Times - Where The Working Boats Went (Wixamtree Recordings WIX. 052)
Where The Working Boats Went is the fourth release by Bedfordshire-based duo Life And Times (Barry Goodman and Graeme Meek). Conceived firmly in the tradition of the thematic folk-concept-album, it chronicles the story of Britain's inland waterways over the past quarter-millennium (in song and one tune-medley), being an affectionate and largely nostalgic portrait that's nevertheless sensibly tempered with realism. Almost all of the material therein is penned by Barry and Graeme themselves, who creatively use differing narrators and viewpoints to afford enticing glimpses into the lives of those for whom the canal network has furnished a rather special way of life. Their loosely chronological journey takes us from 1759 (when the Duke of Bridgewater commissioned the engineering of Britain's first industrial waterway) through the euphoria of canal-mania, the decline of trade (due to competition from the railways), the subsequent abandonment and disuse, and the latter-day revival of canals as a holiday destination. Graeme and Barry certainly have a keen feel for their subject, and their writing is intelligently crafted, perceptive and melodically appealing in the contemporary-but-sounds-traditional vein.
They convince and charm us with their poignant homages to the lock-keepers and boatie-men, while the boat-horse tenderly and proudly reflects on his lot (Narrow Boats To Tow). Carrying The Load provides an infectious music-hall-style litany of goods transported, and the tale of The Ivel Navigation is jauntily recounted. The wistful, deeply-felt acappella epitaph Until The Cut Runs Dry and the account of the personal hardships of waterway life (Iced In) are powerfully contrasted with social activities (the rock'n'rollicking A Bit Of A Do), while A Light At The End Of The Tunnel pays tribute to the dedicated canal-restorers. These are compositions of quality and memorability, several of which I envisage quickly being taken up by other performers. The three non-originals are well chosen too: Dave Ritchie's Finest Of Them All (an account of a run down the Grand Union Canal transporting Guinness barrels!), the "canal shanty" Push Boys Push, and Jon Raven's setting of The Bold Navigators. Graeme and Barry's pleasing and accomplished performance style strikes an ideal balance between enthusiastic drive and gentle sensitivity. Warmly-sung with attractive, simply-managed and wholly complementary musical accompaniment (melodeon/English concertina and guitar/bouzouki, with occasional violin), their songs together form a delightful, stimulating and entertaining programme and a disc to treasure.
David Kidman
Life and Times - CHARIVARI (CD)
This latest offering by Bedfordshire duo "Life and Times" is a delightful collection of tunes and songs inspired by their native county. Life and Times are a genuine acoustic folk duo (Graeme Meek and Barry Goodman) accompanying their vocals with acoustic guitar, electric bass, melodeon and concertina and on this album also accompanied by fiddler Debbie Chalmers. This album is a fascinating attempt to bring the traditions, customs, practices and history of Bedfordshire to life and it is done in a very genuine and clear fashion breathing live into customs and folklore.
The duo themselves have a fine history of involvement in traditional/folk music over the last 18 years, as well as playing as a duo they also play with the "Time of Your Life" Country Dance Band, as well having impressive cvs of their own, (both with involvement with the folk genre going back to the 70's). Graeme Meek (including having presented folk music and BBC local radio for a number of years and Barry Goodman (a lengthy cv including calling, promoting folk music within education,
One of the highlights on the album was the "plough monday song" a tale reflecting an ancient tradition in Bedfordshire whereupon the first working day following xmas the agricultural workers would parade through the town sing, beg and dance, this tradition carrying on into the 20th Century and still maintained by local Morris teams. The "life and times of Henry Claydon, Highwayman" brings to life the story of a local figure from his "own" perspective.
Certainly when listening to the lyrics I had to keep referring to the duos website and the Cd sleeve notes to get more information/background relating to the tracks, which is one minor criticism (probably due to cost) it would have been interesting to have more details of the customs/storys/traditions that the songs relate too in the inlay card.
These are songs that deserve a wider audience and they will hopefully receive one, although again its worth pointing out that the duo are well known on the folk circuit in their locality and have performed at folk festivals, including Cheltenham. For more details of the duo, forthcoming gigs and this (and previous) CD(s) can be found at their website
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A gentle album featuring a selection of songs that Bram has performed over the years but never got round to recording until now that is. Just a few of the songs he has selected shows his love of both traditional and contemporary material and includes Huw Williams “Geordie Will Dance The Jig”, Mike Harding’s “King Cotton” and my personal favourite “The Rose Of Allendale”. Joining Taylor for the ride are guest musicians Steve Lawrence (Bouzouki and Mandolin etc), Iain Anderson (Fiddle) and Wendy Weatherby on Cello. This is an album that won’t set the world on fire but still proves a very enjoyable listen.
Pete Fyfe
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Bram Taylor – Song Singer (Fellside Recordings FECD206)
www.bramtaylor.com
The Ball Sisters Band – Old Lonesome Sounds
www.ballsistersbandtn.com
Playing Time – 34:00
From Rogersville in the hills of East Tennessee, The Ball Sisters Band began playing as a trio in 1988 with Jessica Ball (fiddle, vocals), her sister Cris (mandolin, guitar, vocals), and their father Randy Ball (guitar, vocals). Ever since the kids were just knee high to grasshoppers, the family has made music together as a creative, entertaining and educational outlet. John Skelton (bass) joined in mid-1998. With scholarships to East Tennessee State University’s Bluegrass Program, Jessica makes regular appearances with their performing ensemble. She also gives lessons, does studio work, and plays flute. Cris was voted “most talented senior” at her high school where she also sang in high school choir. She plays clarinet, gives lessons, and also attends ETSU’s bluegrass program.
Randy showcased his original songs at the 2004 IBMA Songwriters Showcase, won third place in the 2005 “Workin’ Fools Songwriting Contest,” and has had three of his songs cut by indie artists. Besides the title cut on this album, Randy penned or co-penned A Daddy’s Love, Never Say Goodbye, Let the Heartache Start, and The One Thing That is True. Guest Audey Ratliff (builder of Ratliff Mandolins) sings lead about the never-ending and eternal lasting power of “A Daddy’s Love.” Another guest, James Alan Shelton picks guitar on “Lonesome Moonlight Waltz” and “A Daddy’s Love.” From Kingsport, Tn., he’s a well-known bluegrass musician who has played guitar and sung with Ralph Stanley and the Clinch Mountain Boys since 1994. Before that, he performed with The Bluegrass Travelers, Larkin Brothers, Southern Grass, and Flint Hill. Shelton has called the Ball Family “good, down home people…who love what they do!” The band’s devout Christian faith is sweetly expressed in the CD’s original closer, “The One Thing That is True.” Covered songs come from Townes Van Zandt, Larry Shell/Tim Stafford/Kim Williams, The Eagles, and other sources. While liking variety, they respectfully assume a traditional tone reminiscent of the 1930s or 40s on the bonus cut, “Angel Band.” Their strength may be their stripped-down, raw, melancholic approach to music, emphasizing delicate arrangements and presentation over hard drive. Playing and singing with pensive personality and well-mannered attitude, they recreate a type of authentic, rootsy sound heard on the front porches or around the fireplace at Tennessee homesteads many decades ago before radio, rock, rap and reality TV redirected America’s families. Do they sound a bit unrefined and anachronistic? Sure, and that is really much of what creates their alluring charm and piquant 1940s vibe.
The Ball Sisters Band has put out many albums over the years to document each milestone in their continuing development. Many previous Ball Sisters albums have included Jim Bowman, and his banjo would have been a welcome embellishment on many of the songs on “Old Lonesome Sounds.” Their music needs banjo, and it wouldn’t hurt to hear some old-time frailing with some of it. Performing about 100 shows annually at fairs, festivals, restaurants and churches in their region of Tennessee, Kentucky, Virginia and North Carolina, The Ball Sisters Band isn’t out to wow us with flashy licks and soaring vocal virtuosity. Their objective is down-home family entertainment that simply emphasizes the calm, untroubled nature of acoustic tradition. Without tricks or gimmickry, arrangements become simple and understated. The Ball Sisters are helping to keep the mountain music tradition alive. As they continue their growth and maturity, we can certainly expect their limpid nature to assume an even greater spiritual and compelling glow.
Joe Ross
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Darrell Scott – The Invisible Man
www.darrellscott.com
EMAIL kissyblack@lotosnile.com OR condon@comcast.net
SONGS - 1. Hank Williams' Ghost, 2. There's A Stone Around My Belly, 3. Shattered Cross, 4. I'm Nobody, 5. And The River Is Me, 6. Let's Call It A Life, 7. The Dreamer, 8. Do It Or Die Trying, 9. The Invisible Man, 10. Goodle, USA, 11. Looking Glass, 12. In My Final Hour Playing Time – 50:17
Who They Are: A bit of a rogue and maverick, Darrell Scott’s a Grammy nominee and ASCAP’s 2002 Songwriter of the Year.
What They Do: He’s assembled an impressive team of players to present his originals on his sixth album
Little Known Facts: Born on a tobacco farm in the coal-mining center of London, Kentucky, Scott moved as a young child to East Gary, Indiana, a steel-mill town on Lake Michigan near Chicago. His father is a musician, and he grew up around music and creativity. By 16, he was playing roadhouses in Southern California. After some dues-paying years in Toronto and Boston, where he attended Tufts University, studying poetry and literature, Scott finally made the move south to Nashville. Darrell is currently an active member of Steve Earle’s Bluegrass Dukes.
The Songs: “And The River is Me” presents some of Scott’s self-assessment: “They had this test back in high school / Said I had a career in forestry / Had aptitude for isolation / Yeah, I could live without T.V. / But me, I took the low road / My soul flies up into the night / I don’t live in a tower on some fire road / But the human view is out of sight.” As central as Scott’s own songs are to the project, the spirit of the CD is also captured in the only cover “Shattered Cross,” from his friend Stuart Adamson. The powerful song was recorded within a month of Stuart dying.
The Musicians: Recorded live in Scott’s home studio, he has a familiar core of distinguished and experienced players like bassist Danny Thompson (Richard Thompson, Rod Stewart) and drummer Kenny Malone (JJ Cale, Johnny Cash). The album also features Richard Bennett (guitar), Dan Dugmore (pedal steel, guitar), as well as many others to a lesser degree (John Cowan, Sam Bush, Gabe Dixon, Andrea Zonn, Tim O’Brien, Minton Sparks). The Invisible Man was mixed by award-winning engineer Gary Paczosa.
Of Special Note: In his own “Looking Glass,” we gain some more insight into Scott’s head. He sings “Me and this song we got a lot in common / Neither knows quite how they end / Just follow along like a leaf on the river / Believe we always can begin again.”
If I Could Change One Thing: If I were producing his music, I’d like to hear a little more fiddle, pedal steel, resophonic guitar, and even more vocal harmonies in his music.
His Bumpersticker Might Say: Darrell Scott’s got his head in a song and a song in his head
The Bottomline Is: Darrell’s stirring songs “come riding in on the wind” and they are “rainbows in the sky”
Reviewed By: Joe Ross
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Bob Collum - Low Rent Romeo
Bob Collum is an American Singer-Songwriter who recently relocated to the UK, from Oklahoma, and has been making an impact in several acoustic venues around the South of England (and slightly further afield). Collum was inspired by the likes of Dylan he first started out on the scene at a time when (he himself points out) the music scene was not taking too much notice of singer-songwriters, he has suffered some odd experiences for the acoustic singer opening gigs for punk and heavy metal bands, but mayhaps hes better for it.
By 1997 Collum released his first album returning to his roots as a singer-songwriter, he has also opened for various acts including the Handsome Family, Robbie Fulks and Ron Sexsmith and he is now resident in the UK, making his mark and a very firm impression across the acoustic scene.
Low Rent Romeo is his latest offering, the album consists mainly of
Collums own writings, with a track from Woody Guthrie and from Neil Young
thrown in, not as extras but very much in the same mode as the rest of the
album, the songs range from tales of love rejected to Collums reflections
on the human condition. All of this is accompanied by his guitar and
harmonica playing, along with quite a wide range of guest musicians,
including fiddle, bass, piano and percussion (I hasten to add none of this
detracts from the feel of the album which is very much of
Collums).
There are also very clear Americana influences (an oft
misused word in my opinion but not in this case) throughout the album,
which itself clearly encompasses a range of influences.
Certainly when
listening to the cd I was pleasantly pleased, at the quality all to often
the term "singer-songwriter" is thrown about loosely these days, however
in this case the term is applied with justice and what you get is what you
expect. Collum (as he indicates) is an artist with a variety of
influences, from country to pop via folk, which he manages to blend into a
very pleasant mixture.
The chances are that Bob Collum will be
appearing somewhere near you in the not too distant future, details of his
forthcoming gigs can be found on his website http://www.bobcollumonline.com/
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Cloudstreet – Dance Up The Sun (Own Label - CDST04)
Nicole Murray and John Thompson from Australia have been gaining momentum in the UK with their numerous festival and club appearances. Opening with a bright and breezy tribute to the Morris dancing tradition “Dance Up The Sun” this provides the listener with gentle concertina and flute backing and solid harmony vocals. Both Nicole and John possess good tonal quality and this is demonstrated admirably on the second track “The First Time Ever I Saw Your Face”. Featuring a mix of their own self-penned songs and traditional material, the duo offer a sound reminiscent of a bygone era when good, honest folk music cut through a majority of the pretentiousness that currently permeates the…let’s see how clever we can be today brigade…a refreshing change.
www.cloudstreet.org
Pete Fyfe
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James Reams & Walter Hensley and the Barons of Bluegrass – Wild Card
www.jamesreams.com
SONGS - 1. I Caught A Keeper, 2. Hump-Back Mule, 3. Kentucky Mountain, 4. Road To Columbus, 5. Where No Heart Goes Hungry, 6. We're The Kind Of People That Make The Jukebox Play, 7. Dreaming Of A Little Cabin, 8. Wild Card, 9. You Don't Tell Me That You Love Me Anymore, 10. Old Cane Press, 11. You Must Walk The Line, 12. Working On A Building Playing Time – 33:54
Who They Are: A Brooklyn-based traditional bluegrass outfit that builds its presentation around James Reams’ emotional baritone voice and Walter Hensley’s masterful banjo picking.
What They Do: Tap Kentucky and Virginia mountain musical roots
Little Known Facts: The band was nominated by the International Bluegrass Music Association (IBMA) for its 2003 Emerging Artist of the Year Award. The band's self-titled first album, released in 2003, was nominated by the IBMA as one of only seven nominees for its Recorded Event of the Year award.
The Musicians: James Reams (“The Father of Brooklyn Bluegrass”) is originally from southeast Kentucky. He began playing guitar at age 12. From 1992-1998, he performed and recorded with a group called “The Mysterious Redbirds.” His solo albums date back to 1992 and 2000. In 1959, Walter Hensley played banjo at Carnegie Hall with Earl Taylor and the Stoney Mountain Boys. In 1964, he recorded the first solo banjo LP ever produced by a major record label (“The 5 String Banjo Today” on Capitol Records ). The Barons of Bluegrass are Jon Glik (fiddle), Mark Farrell (mandolin) and Carl Hayano (bass). The band has been releasing albums since 2003, and “Wild Card” is their third band project.
The Songs: Their early country and original material written in a traditional style is like a well-documented archive of songs. It’s great to hear a bluegrass version of Johnny Paycheck’s “We’re The Kind of People That Make the Jukebox Play.” I would’ve loved to hear Flatt & Scruggs or Reno & Smiley cover that one. Like Reams, you’ll fall hook, line an sinker for the opening cut of Mike Dowling’s “I Caught A Keeper” about fishing in the sea of love. “Hump-Back Mule” is a traditional novelty tune that has the same drive of a standard like “Pig in a Pen” or “Ol’ Rattler.” And there’s nothing like a song from the repertoire of The Delmore Brothers (“Kentucky Mountain”). Glik and Hensley are in the driver’s seat with their fiddle, mandolin and banjo belted in for the instrumentals, “Road to Columbus” and “Wild Card.” The latter was written by Hensley. “When No Heart Goes Hungry,” a ballad co-written by James Reams and Tina Adridas, is based on a William Faulkner novella as well as the dedication page from a contemporary bestseller. It relates the tale of a young man seeking redemption while serving 20 years for robbing a mail train. The band’s confidence and clarion qualities would especially make them a thrill to see in live performance. The mother and cabin home themes are depicted in Albert E. Brumley’s ¾-time “Dreaming of a Little Cabin,” and the band revives Eddy Arnold’s 1945 hit “You Must Walk The Line” with its classic advice to stay on the straight and narrow.
Any Recommendations: Cut in one wild weekend, with all the musicians in the same studio at the same time and not a Pro-Tool in sight. Don’t expect perfection, but that technique magically captured the spirit and soul of their music. All the edges are still intact and all the excitement is raw. An eclectic set, there’s a taste of their own songwriting. The rhythm skills of James Reams are strong, and the banjo mastery of Walter Hensley is commendable. Jon Glik's and Mark Farrell’s fervent fiddle and mandolin work also provide nice fills and breaks. Vocal harmonies from Carl Hayano and Mark Farrell blend well although the phrasings are occasionally a tad out of sync.
Their Bumpersticker Might Say: Straight-ahead old-school bluegrass with edge and emotion.
The Bottomline Is: Bluegrass music with fortitude and pluck
Reviewed By: Joe Ross (staff writer, Bluegrass Now)
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Montana Mandolin Society - Dance of the Sandhill
www.montanamando.com
SONGS - Salmon River Run, Mary Anne, Dance of the Sandhill, Moonlight Morning, Icarus, Ladies of Scatwell, Sweet Georgia Brown, My Funny Valentine, Blake's March, Simple Gifts, El Cumbanchero, Gimme a Holler, Montana's Farewell Playing Time – 45:20
Who They Are: A classical mandolin orchestra from Boezman, Mt. that also uses various other stringed instruments and percussion for instrumental embellishment
What They Do: The group tours and performs widely with a goal to educate audiences about the mandolin musical heritage. “Dance of the Sandhill” is their fourth CD.
Little Known Facts: Their third Album, “Mosaic,” was nominated for a Grammy Award for Best Contemporary Folk Album. The Songs: The Montana Mandolin Society's arranged music retains the flavor of the turn of the century sound of an "olden days" mandolin orchestra while displaying the growing role of the mandolin and acoustic stringed instruments in musical genres of our time.
The Musicians: For their fourth album, the ensemble has a dozen musicians playing various mandolin family instruments, banjo, guitar, hammered dulcimer, bass, cello, violin, and percussion.
Of Special Note: The album opens with four self-composed pieces from band members Kevin Fabozzi, Craig Hall, and Dennis White. Inspiration is drawn from a whitewatr raft trip, a wedding, a tour of Japan, and a morning sunrise. “El Cumbanchero” has many mandolin voices with a versatile rhythm section.
Any Recommendations: I would love to hear this ensemble offer a few tunes arranged just for mandolin family instruments from mandobass to mandolin, similar to what Peter Ostroushko did with his now re-released “Mando Boys” project. “Blake’s March” comes closest to this concept, but it also incorporates guitar, cello and bass. A beautiful rawboned two-minute arrangement of “Simple Gifts” features only two hammered dulcimers (played by Lindsay Turnquist and Dennis Hunt) for a very lovely modulating change-up in the set.
Their Bumpersticker Might Say: The Montana Mandolin Sound is alive and well! Quality in nature and art begins in beauty.
The Bottomline Is: What a great ambiance! This CD celebrates dance in its infinite living forms.
Reviewed By: Joe Ross (staff writer, Bluegrass Now)
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The John Cowan Band - New Tattoo
www.pinecastle.com OR www.myspace.com/TheJohnCowanBand OR www.JohnCowan.com
info@pinecastle.com OR andy@pinecastle.com
Playing Time – 46:47
Who They Are: Genre-bending innovators and adventurists
What They Do: Progressive newgrass full of vocal and instrumental pyrotechnics
Little Known Facts: Some of Cowan’s early rock and blues bands included Everyday People, The Sky Kings, Duckbutter and Grooveyard.
The Songs: “Carla's Got A New Tattoo” opens the set with barn-burning instrumental work and inspired vocal spunk. The soulful "Misery & Happiness," a lamentation on the bittersweet experience of finding love and losing it, features gorgeous harmony vocals from Patty Griffin. "Working In The New Mine" harkens back to old school bluegrass, with a driving tempo, stellar picking, charged modulation, and acrobatic vocal harmonies. A melodic "Back To Your Arms" and Mark Simos’ "Hurting Sure" are modern country masterpieces that would sound right at home on country radio. “In Bristol Town” is a ballad with some old-time Appalachian character. The 6-minute closing track, "Drown," is the most emotional and controversial. It’s a disturbing and detailed disclosure about child molestation. Based on personal experience as a seven-year-old survivor, John felt it was a tragic story that needed to be told. Cowan collaborated with Darrell Scott on “Drown” and “Red Birds (In A Joshua Tree).” Darrel and his father (Wayne) penned “With A Memory Like Mine,” a sad song of a son returning from war in a flag-draped casket.
The Musicians: Besides Cow on lead vocals and bass, the band’s current lineup is Jeff Autry (guitar, bouzouki), Wayne Benson, (mandolin), Shad Cobb (fiddle), Noam Pikelny (banjo), and Luke Bulla (fiddle, mandolin). All but Pikelny contribute harmony vocals.
Of Special Note: Six guests who are “special” offer up vocals (Patty Griffin), piano (Darrell Scott), cello (Bryn Bright), bass harmonica (Mickey Raphael), percussion (Giles Reaves), and “sonic onslaught” (Jay Joyce).
Any Recommendations: The studio effects are a little overstated in a few places. Sound effects, echo, reverb and looping sounds have their place, and producer Jay Joyce could’ve used them a bit more sparingly to create certain intimate moods and soul-stirring settings.
Their Bumpersticker Might Say: “Johnny C” for Secretary of Defense!
The Bottomline Is: Explosive Ebullience with a capital “E.”
Reviewed by: Joe Ross (staff writer, Bluegrass Now)
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An Evening with Trouble at’ Mill -
Darwen Library Theatre - Friday 2nd November (with Susan Faulkner & Jim Atherton).
I recently heard an interview with Colin Blunstone, during the interview he talked about some gigs he’d been doing with Rod Argent – his first live work for twenty-three years! It’s hard to comprehend that someone blessed with a voice such as Blunstones, should confine his appearances to the inner sanctums of recording studios. I recalled this interview, as I sat in the ninth row of Darwens Library Theatre, waiting for the appearance of a folk group whose philosophy, regarding live appearances, is the exact opposite of C.Bs.. I’d be hard pushed to think of anyone, who can match the total hours of ‘live stage work’ put in, over recent years, by Trouble at’ Mill. ‘Keep Music Live’ is Grahams mantra.
This was the fist time I’d seen Graham, Bernadette and Denis on a theatre stage and I knew from experience that this is a very different proposition to the ‘freewheeling atmosphere’ of pubs and clubs. From my earliest days in Skiffle and Rock and Roll, I’ve always preferred a ‘mobile’ audience (preferably dancing) I always find static audiences a real challenge. Graham Dixon and Co. have no such problems, once on stage, they launched into the same act and routines that they use in the clubs and it fit the theatre stage perfectly. I believe that the reason for this is an interesting one.
Since the ‘folk revival’, the folk movement, in general, has expanded and developed in various ways that are both celebrated and frowned upon. In one of these areas (the ground that Trouble at’ Mill now occupy) both traditional and contemporary songs are used, together with anecdotes and comedy routines, to form the basis of an act that fits comfortably into a theatre format, and good front men, like Graham, can build a rapport with the audience – which is akin to that of Music Hall.
The aforementioned love, of live music, and hundreds (probably thousands) of hours put in on stage, enabled them to both entertain and involve the audience as they cruised effortlessly through ‘Bright Lights’ - ‘A Sailors Life’ - ‘ Sylveste’ - ‘ Female Drummer’ and the well thought out ‘Uncle Joes Medley’ (a great favourite with the audience). Bernadettes voice ringing out ‘clear as a bell’ with support from Graham (usually in unison rather than harmony) and Denis’s Fender Jazz Bass laying down that ‘solid foundation’ that we all know and love, ensured a successful workmanlike performance that pleased this particular audience, they even applauded when Graham walked on stage to plug in Susan Faulkner’s guitar.
I’ve always liked Susan Faulkner’s voice. It falls nicely between the ‘Gentle rural’ folk style and the ‘Hard edged’ urban sound. It enables her to present a wonderfully varied choice of material driven along by her fluid guitar picking style. She’s equally at home with gentler pieces, including ‘Christmas 1914’ – Streets of London’ or ‘ From a Distance’ (which she regrettably left out of this performance) and in contrast Paul Simons ‘ The Boxer’ and Joni Mitchells ‘Big Yellow Taxi’. However, the song that most intrigued me tonight, one I hadn’t heard her perform before, was her opening number ‘Freight Train’. Most of us would associate this song with the skiffle movement but the way Susan performed it, could (should she ever choose to do so) open up a whole new area for her, because the way she performed it took the song right back to it’s roots and its composer Elizibeth Cotten (A blues/folk guitarist – who played the instrument upside down and left handed – like Hendrix). It made me realise that the ‘Girl singer/guitarist’ working in this rural blues/early southern folk area are mighty thin on the ground. So if you’re female and just setting out to ‘learn the licks’ and choosing which particular furrow to plough, choose the one described above, then, as the festival bookings start to roll in, send a letter of thanks – not to me but to Susan Faulkner.
Dialect poetry is another rarity, especially at ‘Singers Nights’. (OK I realise that you recite rather than sing) and although, with the number of books now available, it can never be lost or forgotten, the performers again (as with all ‘Live’ performers) are the lifeblood of the genre. They invariably extend the range of material since most of them write their own pieces and Jim Atherton is one of that number. His Lancashire accent placed him firmly in the east, of the county, and having travelled from West Lancs. one or two of Jim’s phrases were outside my knowledge but the vast majority were not and I thoroughly enjoyed his sometimes poignant – sometimes hilarious, mostly local tales which made up this varied (ever so slightly over-long) performance.
Darwen Library Theatre is a great little theatre with the same sort of ‘feel’ about it as; Grizedale’s ‘Theatre in the Forests’ or Leyland’s ‘Worden Arts Centre’. Pay it a visit sometime.
Harold Dearden
For more information about Trouble at' Mill visit their website.
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Kathryn Roberts and Sean Lakeman at The Ram Folk Club
For various reasons, not least because they dont make it into the capital very often, I hadn't had the chance to catch Equation (the band to which Kathryn and Sean belong) for a good few years, not since catching them at the Dranouter Festival in Belguim in fact. So taking my chances with South West trains I made the relatively short journey down to the Ram Folk Club in Claygate. Despite the minor fact that I missed the first ten minutes or so of their set, I entered what was (as I suspected it would be) a fairly packed out, but friendly and inviting hall outside the Foley Arms (a disturbingly easy pub to find I might add). Roberts and Lakeman front the band "Equation" which in its time has included Cara Dillon, Kate Rusby and Luke Daniels(recommendations in themselves), and Lakemans brothers are now collaborating with Dillon.
As both Roberts and Lakeman started their musical careers on the folk club circuit they wanted the opportunity of their recent release to do the circuit again. I have to say every expectation I had was more than fulfilled, as well as playing some of the more recent material (from the album) Roberts also sang some of the songs she had performed way back at the time of her collaboration with one Kate Rusby (a slight detour but the Rusby and Roberts CD is well worth trying to get hold of), including a cover of an older (one of her more folky ones) song by Suzanne Vega, ("the queen and the soldier"), and it was an absolute pleasure to catch Roberts singing songs like "Ned of the Hill" as well as more recent additions to her collection.
The CD to accompany the tour around the folk clubs, whilst slightly
disapointing in length, a reasonably enough 30 minutes, is an absolute gem
and would be a welcome addition to any collection (how about a longer
follow up?), the CD is again a fine mixture of traditional material
including the American "granite mill", easily one of the best versions ive
heard alongside a collection of English material. A minor gripe perhaps
but again there is no information on the songs on the inlay card.
Regardless, the duo have a couple of dates left on their current tour, and
hopefully they will be adding further dates before the next Equation Tour.
For further details visit their site.
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Stonecircle "Alchemy"
Stonecircle is an American Celtic five piece Band based in the Salt
Lake City area in the States with a wide range of both experiences,
qualifications and influences contained within their ranks. "Alchemy" is
their second offering consisting of a respectful 11 tracks and a good
seventy minutes in length.
The album itself includes a wide variety of celtic style music
from their own self composed tracks to traditional tunes from across the
Celtic world, to which they have added their own distinctive sounds and
skills.
One of several highlights of the album is the traditional
Breton song "Honore my Child" which surprisingly doesnt appear to have
lost anything as a result of the translation which at least partly is due
to the skills of vocalist Lauren Buffington-Jones.
The other tracks on
the album include tales of Kings, songs of days gone by and one of the
better (and probably the longest) versions of "She moved through the
Fayre" that Ive come across. Buffington-Jones vocals give the song real
feeling and an atmosphere that it sometimes lacks.
This album would be
a welcome addition to most collections, for further information about the
band visit their website http://www.stonecirclemusic.com/main.html.