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The Long Weekend of 26th - 29th June 2008 saw the 17th Leigh Folk Festival in Leigh on Sea in Essex, with the vast majority of the events being organised in the streets and public areas of the town, the organisers of this festival do an incredible job of bringing a fine mixture of both known and not so familiar names to the town, alongside the ceilidhs, dance displays, processions, workshops and this year damned fine weather (kudos to the organisers for that!).| On Friday 23rd May Jim Leverton & Geoffrey Richardson were the guests at Deal Folk Club. :
At Deal Folk Club Geoff demonstrated his mastery of these and other instruments, giving a new (outsized) guitar its first outing. Jim Leverton's wry humor spiced the introduction to a number of great songs. These musicians are 60 and over, but showed a fresh enthusiasm for the music that made the lads that started playing so many years ago just shine through. However the music showed their experience, they played a set of numbers selected from a range of styles over the last few decades with skill and mastery. I mentioned to Geoff that Patrick Street, who had just visited the Gulbenkian the previous weekend, had chosen to end the first half with the (to me quite remarkable) Penguin Café Orchestra piece : "Music for a Found Harmonium" - but appeared to be un-aware of its Canterbury connections. I asked Geoff about the origins of this piece of music - he recounted that the harmonium in question was actually found by them on a Tokyo pavement (during a tour), along with a pile of rubbish. Simon Jeffes hunkered down and started trying some chords and scales which were running through his head at the time, and that eventually turned into the piece of music in question. They rang the Tokyo Polygram music company, who sent a van to collect the harmonium, which was taken to their archive show-room - where Simon continued developing the structure of the piece. |
KIF 5539 Jim Leverton + Geoff Richardson at Friday Folk Club, Deal. |
Jim Leverton & Geoffrey Richardson have a new combo called The Puffins playing acoustic, folksy R&B. They have been touring recently, and still have a number of gigs left, mainly in the South East of England - so do try and catch them :
Upcoming Appearences
- 26 May 2008 15:00 JIM LEVERTON & GEOFFREY RICHARDSON & MARTIN ELLIOT The Duke of Cumberland Whitstable
- 30 May 2008 21:00 JIM LEVERTON & GEOFFREY RICHARDSON: The Wrotham Arms Broadstairs
- 7 Jun 2008 20:00 RAPHAEL MEAD & GEOFFREY RICHARDSON, Sellindge Music Festival Sellindge, Kent
- 20 Jun 2008 20:00 RAPHAEL MEAD & GEOFFREY RICHARDSON Tallin Estonia Tallin
- 22 Aug 2008 21:00 JIM LEVERTON & GEOFFREY RICHARDSON: The Wrotham Arms Broadstairs
- 21 Nov 2008 21:00 JIM LEVERTON & GEOFFREY RICHARDSON: The Wrotham Arms Broadstairs
I was not able to get to the Whitstable gig, but caught Jim Leverton & Geoffrey Richardson again in the Wrotham Arms in Broadstairs :
KIF 6087 Jim Leverton & Geoffrey Richardson
KIF 6139 Jim Leverton & Geoffrey Richardson
KIF 6312 Jim Leverton & Geoffrey Richardson
KIF 6325 Geoffrey Richardson in discussion
KIF 6354+5 Jim Leverton & Geoffrey Richardson
KIF 6357 Jim Leverton & Geoffrey RichardsonAt both the Deal and Broadstairs gigs Geoff bemoaned the apparent demise of a number of the groups that he has played with for many years - my feeling is that these musicians may be "golden oldies", but that they have a lot more play-time left in them ...
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Artist: Tony Dargan / Katriona Gilmore & Jamie Roberts
Venue: George IV
Town: Sheffield
Date: 04/06/08 Website: www.myspace.com/gilmoreroberts
There's a stark contrast between the facial expressions of both Jamie Roberts and Katriona Gilmore when you see them playing together; Jamie's intense concentration is evened out by Katriona's apparent stoicism as each of these young musicians tackle some pretty complex arrangements in often hideously difficult time signatures. Perhaps Jamie's more pained expression is due to the fact that he is doing the job of two people. In Jamie we have a guitar player and percussionist all rolled into one, two hands doing the work of four. If only The Who had thought of this, they could've saved themselves a fortune in hotel damage bills, courtesy of the Moon's antics.
Seriously, Jamie Roberts has something special going on here. Positioning his guitar flat on his lap, not unlike the late blues guitarist Jeff Healey, Jamie never misses a beat whilst keeping the rhythmic flow of the guitar intact, beating and tapping the top and edges in order to provide a highly percussive sound. Although there is a potential for all this to become awkwardly laboured, and one false move could turn the whole thing on its head, Jamie manages to keep it all together perfectly well, hence the high level of concentration I assume.
Katriona's fluid fiddle playing has a richness and sweetness that complements Jamie's playing superbly well. Each note is played with the confident authority of a seasoned player, a remarkable feat for one so young. Its little wonder Katriona provides violin lessons when she's not entertaining audiences such as the one that had gathered in Sheffield tonight.
Starting with "Middle of May/Big Nige" with the former's driving rhythm and the latter's quirky start/stop groove, the duo brought to the evening a variety of complex fiddle tunes and original songs, one or two of which feature on the duos 'Live' EP, which serves to put us on in the interim until the release of their debut album later this year, which is currently in production.
Katriona writes fiddle tunes that step outside the usual format with unconventional time signatures that she refers to as 'not dancer friendly', which in turn provide something interesting to get your head around. "Running with Scissors", with its analogy of being something risky or dangerous (or foolish, according to the more health and safety conscious amongst you), has an Eastern European feel which is difficult to tap your feet to, but hugely enjoyable nonetheless. "Skip and Jump" is more dancer friendly and lends itself more to the country dance tradition, whilst "Heroes and Sidekicks" is filled with unexpected musical tangents.
Jamie's songs include "So Long", "White Lie" and "I Don't Want To Say Goodbye", all of which demonstrate the song writing credentials of a musician born into a musical family. His sister Kathryn has already made a name for herself on the British folk scene with a highly respectable duo album with Kate Rusby and as front person with the Equation. With songs of this standard, there is no reason on Earth why Jamie shouldn't make a similar mark on the folk scene, and with Katriona by his side, it all becomes pretty much a certainty.
Tony Dargan is a fine interpreter of good songs, having been blessed with enquiring ears and impeccable taste. I say this not because he chose to sing one of this reviewer's songs, but because all the other songs he chose to perform were carefully selected from the same diverse sources that have struck a chord with me over the years.
Tony tipped his cap to Toms' Waits, Paxton and Bliss ("San Diego Serenade", "Forest Lawns" and "Violin" respectively), John Tams' "Amelia" and Jerry Garcia's "Black Muddy River" during his two sets, all of which he performed in his own inimitable style, whilst throwing in the odd smiler such as Jake Thackray's "The Hair of the Widow of Brid".
There was also one or two unexpected surprises in Tony's set, particularly "Black Water", a song that is serving Kris Drever well at the moment and the Joe Jackson classic "Is She Really Going Out With Him", which is a treat to hear once again.
Tony's interpretation of "Breakfast on Bourbon" was really quite touching. It's the first time I've actually heard the song without having to put up with the baggage of listening to me sing it. So allow me a moment of self congratulation, but note that I'll definitely be having words with Tony about having the audacity to do a better job of it than I.
Allan Wilkinson
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The Real Ones - Live at The ElectroAcoustic Club 20/05/08
Playing at my favourite club last week, The Real Ones are a Norwegian five piece from Bergen. With long blonde hair, patterned shirts and jeans they’d look as equally at home on the front cover of a 70s Beach Boys album as they did downstairs at the Slaughtered Lamb. The similarities don’t end there, as the sound they brought with them was happy and sun-filled; gorgeous golden tunes reminiscent of lazy hazy days in the park, making daisy chains and doing handstands…
From ‘Lonesome Town’, with the audience smiling and nodding unknowingly in time with the music, to ‘Bratislava’- the funky encore; the Real Ones brought a glow to the evening that had nothing to do with the weather outside. The sitar intro on ‘Neighbourhood’, the psychedelic bliss of ‘Outlaw’ and singing along to ‘Ballad of an Old Man’ – the mood just spiralled upwards, bathing everything in a summer glow.
Happy days.
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Kate Binningsley – Awen's Song EP (Independent Release)
What begins as a songwriter's nudge to get oneself up out of bed and do something useful, particularly on a nice sunny day, turns out to be, after more attentive listening, a spellbinding reflection on loss and grief. "Awen's Song" is a lament to the undisclosed ones who we have lost, probably something we can all identify with.
Reminiscent of the singing style of Sinead Lohan and with the sensitivity of Eleanor McEvoy, Kate Binningsley eases us into an EP of songs that make us pine for the full album, which no doubt is on its way.
Touched by the spirit of Joni Mitchell, Kate tips her hat in song to probably the most inspirational of all female singer songwriters with "Joni's Emancipation", a jaunty Coyote-esque journey in search of love, which inevitably leads us back to the start of that long road.
With "Fire", "Beautiful Day" and "The Lament of the Sailor's Wife", we have been presented with a snapshot of the work of a young songwriter with a bright future. Not only is Kate a promising songwriter with a naturally fresh voice, she can also play a mean guitar as can be heard on "No Conditions", not on this EP but quite possibly penciled in for the album. I look forward with keen interest to see how Kate's songs develop.
www.myspace.com/katebinningsley
Allan Wilkinson
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David Munyon and Mary's Band – Some Songs For Mary (Mobile Home Records HR006)
With the best will in the world it's difficult to avoid comparisons between David Munyon and JJ Cale; both have the distinct feel of deep Southern swamp-rock, a country sensibility and an exciting groove without seemingly breaking into so much as a slight sweat. I normally steer well clear of any artist who declares "I just ask God to help me write a good song for the folks, and I just hold the guitar and pencil" but on this occasion I was curious enough to proceed further and in doing so, I discovered something quite interesting indeed.
With a well-worn and weathered voice that not only echoes the aforementioned JJ Cale but also has a pinch of John Prine thrown in, we have here a back porch album that would be a suitable soundtrack for any garden barbecue you may be planning this Summer. That is if we get one this year.
Kicking off with the soulful "Let's Dance This Night Away" Munyon is in Ben E King mood with a thoroughly tight band featuring some pretty good sax work by Stewart Curtis and the unmistakable pedal steel playing of BJ Cole.
The swamp rock reference doesn't apply anywhere better than to "Song for the Dalai Lama", although I'm slightly bewildered at what exactly constitutes 'grooving with the Dalai Lama'. I have to point out that it sounds much more enlightening than, let's say, jiving with the Archbishop of Canterbury or do-sa-do-in' with the Pope.
There are more sensitive moments on the album, for instance "Angels All Around Us", which ponders upon some of the basic codes of life, that we should help someone when we can, and get up whenever we fall. Munyon delivers such messages with sincerity but not sentimentality. "Song for Mother Mary", a song of salvation, once again manages to carry its message without being overtly preachy. I'm left with the urge to flick through John 3:16, just for curiosities sake.
Some Songs for Mary concludes with "Grace" an all-out rocker to brandish your air guitar to when the garden barbecue becomes a bit slow. All in all, the album transcends the basic spiritual overtones and I guess the message comes through to those who wish to receive it, whilst others can enjoy some pretty good enjoyable songs and music at the same time.
Allan Wilkinson
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Reg Meuross – Dragonfly (Hatsongs HAT001)
When an album pops through your letterbox and drops onto your doormat, with a sleeve that credits well established musicians like Rabbit Bundrick (Keyboards) and BJ Cole (Pedal Steel) as well as from the younger end of the spectrum, Jackie Oates (Fiddle), then you drop everything, stick the headphones on, pop your stocking feet on the worktop, make a brew and close your eyes for an hour or so.
Multi-instrumentalist Reg Meuross is an exceptionally graceful singer and a fine song writer with an ear for good arrangements and fine musicianship, hence the folks he knocks about with. The title track "Dragonfly", which comes in fourth on the track list after settling the listener in with three fine songs, is probably one of the most instantly accessible pop songs I've come across in ages. It's got that steadily building power chord structure that eventually erupts into the single word chorus of 'Dragonfly' - I defy anyone not to sing along.
In just three short verses, "Fools Gold" opens up a world of mystery and intrigue, which is impossible to avoid engaging with. Poetic story songs that unfold with such ease are such a rare thing these days, unless your name happens to be Richard Thompson.
"The Sound of Hallelujah's" addresses the common argument we all have with our offspring these days; whose version of "Hallelujah" is better, Cohen's or Buckley's? It's a good job that neither of the John Cale or Rufus Wainwright versions were brought into the discussion. Whilst Meuross agreed to disagree with his daughter Lily's assertion that the Buckley sprog's version is the definitive one, I'm going to be neutral and claim that both versions do it for me equally.
The gorgeous "Lizzie Loved A Highwayman" is a ballad to die for. Based on the Dick Turpin legend, the song weaves through verse after verse of fine story telling set to a Jackie Oates' wistful violin backdrop. If Reg Meuross isn't invited along to the Transatlantic Sessions mansion for series 4 to sing at least this one song, then Ali Bain and Jerry Douglas can scrape and slide for their supper.
Songs about desertion have always been a staple for folk singers throughout the ages. "And Jesus Wept" is poignant in that it addresses the case of Harry Farr, the first soldier to receive a pardon by the British government in 2006, after being executed ninety years earlier by his own troops for desertion, even though he was known to be suffering from shell shock. Meuross handles the subject with some gracefully sympathetic song writing, noting that it's not just cowardice that we kill our soldiers for, but the notion that 'if a man's not fighting, he might as well be dead.' Try telling Hawkeye Pearce and Trapper John that!
'Dragonfly' isn't short of good songs. I can't find a duffer amongst them. The songs are all delicately performed by Meuross together with a tastefully assembled cast, who ensure these songs are given appropriately sensitive arrangements to allow them to breathe. I feel a certain empathy towards "William Brewster Dreams of America" as it relates to the parish of Scrooby, but twelve miles from my home, where this particular Pilgrim Father set out on his adventures in 1608. I'm still trying to get out of here! Maybe I'll hop on the back of the next dragonfly that passes through.
Allan Wilkinson
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Faustus - Live at The Slaughtered Lamb 13/05/08
Lewis Garland and the Kett Rebellion brought their fans with them and were a great introduction to the second night of the ‘Faustus’ album launch. Strolling around like a Tudor troubadour, Lewis and his band played the whole set acoustically, preferring not to use the small stage area. From congas, beat box, and bass, to the more traditional mandolin, the Kett Rebellion sound like medieval pop, with the added benefit of Morrissey-esque word play from Lewis. Songs like ‘Blackboards and Fingernails’, and ‘The War’; the shaky egg gaffer taped to the foot of the percussionist, and an average age of ‘very young’ , this band were worth turning up early for.
Not that I needed encouraging. The Electroacoustic Club is like turning up at your mate’s for a cup of tea, and discovering band practice is happening in his living room. Up close and personal, with great places to sit, slouch, or even lay, this venue manages to be both entirely relaxed and familial, yet at the same time cutting edge- with the best in new acoustic talent clamouring to play there.
Faustus were there to launch their new album ‘Faustus’- and very good it appears to be too. Three part harmonies on ‘Ballina Whalers’, the jaunty rhythm of ‘Acre of Land’ and ‘Grimsby Rascals Crisps’ – the last one of the few tunes in the set.
It was dynamically fascinating to watch, to see the Faustus way of doing things. This trio play standing up, and wear hoop earrings - although I suspect this isn’t compulsory! Paul Sartin stands on the left, playing fiddle and oboe, the blond Benji Kirkpatrick on the right playing bazouki and guitar, and the handsome Saul Rose stands in the middle-two feet back from the others, with his trusty melodeons.
Audience interaction, quick melodeon repairs, in-band jokes and shameless cd plugs made Faustus entertaining and intriguing. Their ability to switch from song to tune, from instrument to voice, from traditional tune to modern arrangements made seeing them again a necessity.
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Artist: Clive Gregson
Venue:The Regent
Town: Doncaster
Date: 12/05/08
Website: http://www.clivegregson.com
It's a good twenty years ago since Richard Thompson suggested to Clive Gregson that he and Christine Collister should spend some time working as a duo in the folk clubs up and down the country, whilst the band was having a break. It was a wise decision, as the pair provided the folk scene with a bunch of memorable songs that had already been tried and tested in the Eighties cult band Any Trouble, but with a new emphasis on splendid harmonies and sex appeal.
I reserve judgment on exactly how sexy Clive Gregson was in fedora and shades, but Christine Collister's soulful voice and girly giggle did the trick for me. I was pleased to have been around during that time to catch Gregson and Collister on many occasions, as an excellent duo and of course as part of one of the classic Richard Thompson Band line-ups. Tonight at The Regent, gone was the hat and shades, gone also was the female sidekick, but what remained intact was the fine and accomplished songs. The first set of the night was taken up with newish songs, either from more recent solo albums, or songs that he's been writing for others, including one of which had its very first outing tonight, "Back Where I Belong", which the audience agreed should be a 'keeper'.
Currently living in Nashville, Gregson has found himself in very good company, working with the likes of Nanci Griffith and Buddy Holly's old band The Crickets. "I Think I'm Falling in Love" is Gregson's attempt at writing a love song in the old Buddy Holly style and it would be easy to imagine the bespectacled Strat-wielding Texan singing it, had he still been around.
Gregson has a very matter-of-fact approach to between-song patter, with stories of travelling the world and name-dropping without actually coming over as boastful or arrogant. I'm still shocked at how casually he informed us all that his former wife was recently abducted in Ecuador and murdered, or was I hearing things?
It makes sense that Gregson should team up with fellow songwriter Boo Hewerdine as they are so similar in their sense of melody. Listening to Clive Gregson these days is not unlike listening to Hewerdine, especially on songs like "All My Stories" and obviously "Footstep's Fall", which they wrote together. Both share that distinctly melodic style of songwriting. "Fingerless Glove" closed the first set with some astonishingly versatile guitar playing, which looks so easy in the hands of Gregson. You tend to forget just how experienced Gregson is as a guitarist whilst concentrating on the songs.
The second set got off to a good start with three songs lifted from the first Gregson Collister album 'Home and Away', "It's All Just Talk", "When My Ship Comes In" and the brilliant "Northern Soul", still one of Gregson's finest songs, which was also part of the Any Trouble repertoire.
Last year saw the long awaited reunion of Any Trouble, giving those who missed out on the band another opportunity to find out what all the fuss was about. There are no short memories in the Regent audience and "Trouble with Love" from the 'Wheels in Motion' period was requested and performed on the spot.
Other highlights of the set was audience favourite "Fred Astaire", memorably recorded by Norma Waterson, and believe it or not, fellow Mancs' Barlow, Donald, Orange and Owen's "Wooden Boats" from Take That's last album. It's a good song, and when stripped down to one man and his guitar, it comes across as a perfectly reasonable choice for a Gregson set.
Gregson finished off with a tribute to the first Any Trouble singer Tom Jackson, who unexpectedly died last week, with one of his favourite songs, George Harrison's "Here Comes The Sun", which he chose to sing front of stage and unplugged. It sort of required that sort of intimacy.
Twenty-one songs were performed by Gregson tonight and each one was special in its own way. Tribute to one of this countries' finest writers and one whose songs should be celebrated.
Allan Wilkinson
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Wath Festival 2008
There's an extraordinary sense of a community spirit that you couldn't fail to absorb upon arriving in the Montgomery Square area of Wath-upon-Dearne on a May bank holiday weekend. You may choose to join the festivities right at the very beginning, attending one of the Eric Sampson Schools Concerts, which take place sometime during the midweek period leading up to the bank holiday weekend. You may on the other hand choose to come along early on Friday evening, plying for one of the best seats in the house for the first of the five concert sessions, which would no doubt feature one of your favourite names on the folk and acoustic scene. You may even decide to skip all that and just come along with guitar in hand to attend the final informal session at the Sandygate on bank holiday Monday afternoon. Either way, you would be guaranteed a community atmosphere and a friendly face to meet and greet you. So carefully planned is the running order at the Wath Festival these days, that satisfaction is almost guaranteed for all.
The festival, which is organised by several passionate souls who collectively share one single vision, which is to bring this tangible sense of community to a wider audience, celebrates thirty-five years of its existence and its popularity grows year upon year.
Centred around Montgomery Hall, the festival has grown over the years to the extent of including a large marquee for various children's events, tucked away nicely behind Montgomery Hall, the main venue for all the festival concerts, and just a short distance away from yet another concert venue up on Sandygate Hill. The Sandygate Hotel, would be the ideal place to grab a bite to eat whilst taking in performances from additional invited artists such as up and coming acts like Jamie Roberts and Katriona Gilmore, Charlie Barker, the Jon Chapman Trio, Tim Eveleigh and Kayla Kavanagh. There's every chance you might also get to see one of the main acts up close and personal, who will be appearing on the main stage at some point during the weekend. This year for instance, Nancy Kerr and James Fagan made such an appearance on Saturday afternoon.
Between the town centre and the Parish church, where bread buns would be traditionally hurled from the tower at precisely twelve noon, you are likely to witness a variety of traditional dances, street performances and workshops, appealing to spectators of all ages, whether they be visitors to the festival, local townsfolk or just curious passers by. If you're at a loose end on May bank holiday weekend, where better than at the Wath Festival to be?
I wasn't at a loose end over the weekend. On the contrary, I'd been looking very much forward to this year's festival for a good twelve months since attending the last one and so becoming an instant convert. Upon arriving, I did what most festival goers do, that is to carefully scan the programme to see exactly who I might see and who I might miss due to scheduling cross-overs. Suffice to say, this festival is geared towards ensuring a ticket holder doesn't miss much at all.
Friday
The first of the five concert sessions during the weekend got underway on Friday night with appearances by Ray Hearne, Bob Fox and the popular duo John Tams and Barry Coope, which turned out to be quite an inspired bit of programming. Ray Hearne has always been a popular voice in South Yorkshire and easily fits the dual role of both consummate entertainer and festival champion, a good figurehead who believes in this festival and the good it brings. John Tams later referred to Ray as a great poet and a personal hero, which coming from an artist of John's stature is no mean accolade indeed. If Ray's job was to warm up the audience, then by the time Bob Fox was ready to take over, that audience was sizzling in anticipation.
Now this year, Bob Fox and Stu Luckley will be celebrating the thirtieth anniversary of the release of their first LP, 'Nowt So Good'll Pass', which features many of the songs that Bob is still singing today; songs which have subsequently become pretty much standard folk club fare, songs like "Sally Wheatley" and "The Bonnie Gateshead Lass" both of which Bob performed in his Friday night set. The distinctive voice on the record and the voice heard at the Wath Festival has changed very little in the subsequent years, if at all. Considered one of this countries' best folk singers, Bob Fox could quite easily have walked away with the 2003 Best Singer Award at the BBC Radio 2 Folk Awards had Eliza Carthy not also been nominated that particular year. Still, as John Tams was to remind us later in the evening, Bob Fox possesses the greatest voice in the English folk movement, and a voice we shall not hear again. A voice that comes from 'hard graft'.
Ray Hearne compared the job of introducing John Tams and Barry Coope with that of introducing members of his own family. He went on to point out that the current political climate has brought about a consensus of opinion that if nothing else 'we'll get some good songs out of it - and who better to write 'em but John Tams and who better to play 'em but Barry Coope'. A perfect set-up for the perfect set that followed.
Anyone who has witnessed a John Tams and Barry Coope performance knows full well that nothing unites a room full of people better. The songs weave through themes of hardship, love and loss with no small measure of astute observation and social commentary. Whilst "Amelia", "Harry Stone" and "Lay Me Low" tug at the heartstrings and settle us deep into our seats, "Vulcan and Lucifer" and "Steelos" from the Radio Ballads series, and incidentally, from the Radio Ballad that is closest to our hearts, particularly in this neck of the woods, 'The Song of Steel', increases the speed of the heartbeat and beckons us all to unite in communal singing. It's good for the soul.
Saturday
On Saturday afternoon, the Real Music Bar sessions held at The Sandygate got underway, showcasing the talents of young musicians Jamie Roberts and Katriona Gilmore, whose dexterous playing ability on guitar and fiddle respectively, drew a decent sized audience despite competing with the major concert appearances of Cara Dillon, Roger Davies and Jon Strong on stage at the Montgomery Hall at the same time. (Note: the absence of a Cara Dillon review is due to the fact that this reviewer was on stage at the Sandygate whilst Miss Dillon was bringing tears to the eyes of the Guinness Boys. By all accounts, her performance was spectacular).
In his introduction to the Saturday evening concert, all round thoroughly decent chap Tony Dargan pointed out that the Wath Festival should be represented by its finest, and as Ruth and Gary Wells took to the stage, it most certainly was. Kicking off with "Over The Lancashire Hills", Ruth and Gary played an eclectic mix of concert favourites including Steve Knightley's "Exile", Johnny Mulhern's "Magdalene Laundry", and XTC's "Dear Madame Barnum". Ruth and Gary play a crucial part in the running of this festival and their absence would be like parents missing from a kids party, if ever they ever chose to have a year off.
Nancy Kerr and James Fagan's second appearance of the weekend, having already performed a set during the afternoon at the Sandygate, was received by an enthusiastic audience who instantly warmed to the duo's charms. Songs such as "Farewell To The Gold", "Allan Tyne of Harrow" and "Leaving Old England" couldn't fail to bring out the best in this Wath audience.
Believe it or not, Nancy Kerr and James Fagan have been working together as a duo on the folk scene for twelve years now and in that time they have managed to make several albums, walk away with the Horizon Award at the BBC Radio 2 Folk Awards in 2003, tour extensively throughout the world and make plenty of friends along the way. They appear to live and breathe their craft. They talk fluently about all aspects of traditional folk music and seem to absorb sponge-like all the influences made available to them. This is in no small part due to their celebrated lineage; Nancy's parents being the much loved singer Sandra Kerr and Northumbrian piper Ron Elliott and James hailing from the popular Australian family folk band that is 'The Fagans'.
The songs that evolve from such partnerships are an important part of traditional music, and I suppose in some small way are part of the make up of World Music in general. Taking parts of old English ballads and transforming them into something new, with a more Anglo/Australian emphasis, can only be a good thing.
In "Barbara Allen", one of the most popular of all ballads, Nancy adds her own composition "April Friend" not just as a song tagged onto the end, but interwoven, like inextricably clasped hands, and in doing so, breathes new life into an old song.
Rounding off Saturday night, Martyn Joseph was in Elvis mood. Twenty-nine albums on from the days when this young Cardiff songsmith was being launched as the new kid on the block, a lot of water has passed under the bridge and we now have our own version of Bruce Springsteen to dish out song after song of sheer brilliance. Highly prolific, Joseph tackles a multitude of themes and topics with the assurance of a seasoned rock star. He had 'a plan' for this performance, which he would not allow himself to divert from however much the man in the audience pleaded for a Joan Osborne song ("One of Us" was performed at Joseph's last appearance at the festival in 2003). He was on a mission. Songs from his new album 'Vegas' loomed large with "Weight of the World", "Things We Have Carried Here", "Fading of Light" and "Invisible Angel" seamlessly rubbing shoulders with more familiar fare "Proud Valley Boy", "Turn Me Tender" and the heartbreaking and personal "Can't Breath" from his 2005 'Deep Blue' album. One or two older songs were also revisited.
Sunday
Wath's own version of the Three Graces came along in the form of the Three Ruths, each of whom played their own important part in this years festival; that of the roving reporter (Ruth Palmer), festival co-organiser and performer (Ruth Wells) and fine interpreter of traditional folk songs, song writer and new distinctive voice on the folk scene (Ruth Notman). It's not unusual to see the festival organisers at Wath Festival mingle freely with artists, the press and the public alike. There is a green room far away without a single occupant. This festival is made for mingling, and mingle everyone does with relish.
Martin Nesbit opened the Sunday afternoon concert with some original Teesside humour, which perfectly set the audience at ease. Songs about uncontrollable dogs from Hell, ASBO's and just for the ladies, a real mechanical guy, complete with sex appeal, twiddly bits and sexy eyes that bounce about on wires. Completely bizarre stuff to get the final day of the Festival off to a good start.
At just nineteen, Ruth Notman brings something to the stage that most experienced folk singers would trade an arm or a leg for, that is, fresh faced youth. She speaks of A levels and examinations with youthful candor, not as if it were just yesterday, but as if she was still in the middle of doing them. She has a bright and breezy personality, which comes across as unbridled charm and you would have to be made of ice not to love this Nottingham lass.
Alternating between guitar and piano, and joined by Saul Rose on melodeon, Ruth delighted her audience with her unmistakable voice and faultless song choices. Opening with her own take on Nic Jones' "Billy Don't You Weep For Me", which Mr Jones has already nodded his approval to using superlatives such as 'super' and 'terrific', Ruth's set displayed a lightness of touch on both guitar and piano. Ruth was in her usual playful mood and joked about Westlife, especially when tackling power ballad key changes as illustrated in "Lonely Day Dies", which she admits is there simply to "meet the criteria of the examination board" in her Music A Level, as well as surprising the audience with her tongue-in-cheek revelation that the next artist up, Kris Drever, is in fact her future husband 'but he doesn't know it yet!'
Ruth's jaunty version of "Limbo" was one of the highlights of a predictably superb set, which confirmed to this Wath audience that she is one to watch out for in the foreseeable future. Closing with "Farewell Farewell", the classic Richard Thompson song is approached with both maturity and assured confidence, despite her guitar having just lost battery power after her penultimate song and having to make do with Saul's mic. A minor glitch to bring an excellent set to a close.
Kris Drever performed songs from his album Black Water with a confidence and flair rarely displayed by one so young. Whilst "Steel and Stone (Black Water)", "Beads and Feathers" and "Harvest Gypsies" proved what a fine and tasteful selector of contemporary songs he is, following his own rule of choosing songs for the album written by personal friends only, 'otherwise the album would be full of Randy Newman songs' he admits, "Shady Grove" reminded us once again of his command over the interpretation of traditional material. The instrumental preface to "Green Grows the Laurel" was nothing short of stunning, not because it was complex, flash or bewilderingly difficult, but because it was simply beautiful.
The Gladedale concert on Sunday evening brought us to the last leg of the festival. Determined to make it a night to remember, the festival brought together two of the hottest bands on the scene, one relatively new, the other, unquestioned giants of the folk scene.
After winning the best live act category at the 2008 BBC Folk Awards, Lau's set on Sunday night was eagerly anticipated. Their appearance at the festival brought their grueling six weeks tour to an end with a storming set that had the entire audience on the edges of their seats. One sensed some fatigue in the faces of this trio but nevertheless, this understandable exhaustion didn't manifest itself in their playing one bit.
Kicking off with "Frank and Flo's", Lau demonstrated perfectly how three musicians can be completely on the same page with exciting interplay between accordion and fiddle and the driving guitar of Kris Drever. Aidan O'Rourke's fiddle playing follows a traditional template and is so good as to have been heard on over sixty albums already, both as a session musician and member of such outfits as Blazing Fiddles and Tabache. Martin Green on the other hand, has managed to reinvent the accordion completely as a crucially exciting instrument, not so much in the speed and dexterity of his playing but in the actual physical handling the instrument. If Martin had appeared at the Monterey Festival in '67 then he would surely have set it alight. He dismisses comparisons to Jimi Hendrix with his sardonic wit 'I'm more like the Jimmy Cricket of the accordion.' (...and there's more!)
Kris Drever provided one or two songs during the set, such as Ewan MacColl's "Freeborn Man" and a couple of traditional songs, "Butcher Boy" and "Unquiet Grave". For one who loves songs so much and usually taps his fingers patiently upon the table throughout the instrumentals until the next song comes along, I must confess that with Lau, I was on the edge of my seat waiting for something like "Hinba" to come along again. It almost feels like the folk scene in general has been itching for something like this to come along.
Who better to take us out on a high than the Battlefield Band? The current line up, which consists of founding member Alan Reid, Alasdair White, Mike Katz and most recent addition guitar player Sean O'Donnell, brought not only just a taste of Scottish traditional music to the festival, but the very heart of it. Formed in the 1970's the band have evolved through many changes but have always maintained a distinctive Scottish sound by always including at least one piper. Mike Katz's playing of the Highland Bagpipes is almost as impressive as his beard, and the finale to this year's festival couldn't have been better planned. Alternating between songs of startling quality and sets of traditional tunes, the band won over the audience with ease.
Songs about immigration ("The Green and the Blue", "The Immigrant"), forgiveness ("I'm Going To Set You Free") and love ("My Love Is Like A Red Red Rose") were beautifully delivered by either Alan or Sean, whilst Alasdair and Mike contributed their most fitting accompaniments. The audience took over the singing during "Nancy Whisky", which was a fitting way to bring the 2008 Wath Festival concerts to an end.
I bumped into Ray Hearne towards the end of the set and we shared a moment of reflection. As the room swayed to the last refrain of "Nancy Whisky", we considered how much had been squeezed into such a short space of time. Was it really only just two nights ago that he kicked this thing off? Amazingly enough...
Allan Wilkinson
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Chatham County Line - "IV."
www.chathamcountyline.com
Playing Time – 46:12
With three other albums under their belts since 2003, Chatham County Line calls “IV” a “coming out party” because they no longer feel constrained to a certain niche by bluegrass instrumentation. They are a young, enthusiastic band that has grown and progressed into a signature acoustic groove. On their first few albums, these North Carolinians grabbed attention with a refreshing bluegrass-tinged sound anchored around guitarist Dave Wilson's emotive lead vocals and prolific songwriting. Strong and energetic contemporary folk-inspired material have always permeated their projects. “IV” takes them even further on an intriguing journey into Americana territory, and it’s a solid statement for a young quartet that’s also been fortunate to maintain its same four personnel for years. Besides Wilson, CCL continues to also feature John Teer (fiddle, mandolin, viola), Chandler Holt (banjo, guitar), and Greg Readling (bass, pedal steel, piano).
“IV” takes the band beyond a mere modernistic interpretation of bluegrass. The opener, “Chip of a Star” is clearly arranged as radio-friendly commercial fare with its repetitive banjo riff. Songs like “County Boy/City Boy” illustrate the dichotomy of the band’s contemporary folk-rock urban approach overlaid with some bluegrass sensibilities. When I first heard “Let It Rock” and “I Got Worry,” it even crossed my mind that these boys might be enticed into a full plunge into electric music with a drummer. Perhaps a plugged-in CCL album will be their next stop on their evolving path. In the meantime, balladry is still a large part of their bag with numbers like “The Carolinian,” “Sweet Eviction,” “One More Minute,” and “Birmingham Jail.” One of the three numbers penned by Holt, “Clear Blue Sky” is an instrumental showcase for the band’s clarion bluegrass chops. And then there’s Teer’s “Paige,” a classically inspired mandolin tune that emphasizes timing, tone and technique. I respect all confident new traditionalists who follow their own muse. I know CCL’s vibrant and unrestrained genre-bending sound will continue enlisting many fans.
Joe Ross
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Salsa Celtica at London Jazz Café 30th April 2008
A slightly different line up to allow Jarlath Henderson to continue his studies, but still managing to cram eleven members onto the stage at Camden’s Jazz Café last night, Salsa Celtica blew away the London drizzle and welcomed us to altogether sunnier climes.
Salsa beats and sensual rhythms slipped effortlessly between Irish jigs and Scottish reels, a blend that left the audience unable to stand still; from the professional salsa couple at the front twisting and turning, to the guy in the corner shifting clumsily from one foot to the other.
For this gig was a lesson in rhythm- how to steal the very best from the cultures represented on stage and weave them together to form the Salsa Celtica sound- a hot, sweaty, happy sound. Trumpet and bagpipes, banjo and electric bass, congas, bongos and shekere – a mad eclectic mix that shouldn’t work but just so does; the crowd’s appreciation obvious by the whistles and applause, people smiling broadly, reluctant to leave at the end of the evening.
Impervious to the cold and rain, the feel good factor continued all the way home -feet tapping on the tube to the memories in my head- and right through the following day!
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Kate Doubleday - Belonging
Longtime resident of suburban Birmingham, now domiciled in rural Wales where she doubles up as musician, organic gardener and educational environmental artist, the breathily reedy voiced thumb piano playing Doubleday made her recording debut five years ago with Renewal, earning warm reviews for its jazzy folk flavours and blend of African, Irish and Balkan influences. She returns to now plying the same mix of influences but with the increased maturity, confidence and deepening of textures passing time has wrought. Again those looking for quick references points might light on Sally Oldfield, but you'll also find shades of Joni, Janis Ian, Anne Briggs, the spidery aspects of Kate Bush, and a less darker voiced June Tabor while she'd be quick to point out the influence of the late poet Frances Horovitz on her work.
Trevor Lines reprises his bass duties from the debut album while this time round the musical line up welcomes percussionist Tom Chapman (who plays reclaimed copper pots), guitarist and acclaimed UK kora player Daniel Wilkins, producer Joe Broughton on violin and Pamela Pinnock and Tina Barnes providing backing vocals. Together they create an intoxicating brew, rich in layered and sinuously subtle arrangements hewn equally from the musical traditions of West Africa, Irish backwaters, the Mississippi and the hayricks of England.
Adorned with images of flowers and nature, her songs treat on the giddy rush of love (Do You Not Know, Sweet Dandelion), political hypocrisy (the heady chant structured Follow Through), fecund nature (Wild Poppies), grief and forgiveness (Watch The Flowers), her daughter (the pure tinkling trad folk In Full View) and the beauty but ephemeral nature of life (a tranquil watery Silver Blue). Songs like the hypnotic, sensual Eucalyptus (where she invokes Aboriginal vocalese) and the choral African hymnal title track (surely a number made to be sung into the Glastonbury twilight) curling through the blood, it's an album that seeps inside you, taking root and blossoming into a spiritual soundtrack for the soul.
www.katedoubleday.com
www.myspace.com/katedoubleday
Mike Davies March 2008
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LUNASA – The Story So Far… (Compass Records 7 4475 2)
Lunasa, for those not already acquainted are one of the most stunning Celtic music groups to emerge from Ireland since The Bothy Band. Their passionate Jazz/Rock/Folk rhythms coupled with dynamic flute and fiddle melodies will transport the listener on a magical tour from which no one will want to disembark. A best of album this surely is but then again it must have been very hard deciding on what to leave off such is the quality of all their albums. As an introduction to the band’s music, calling cards don’t get much better!
www.lunasa.ie
Pete Fyfe
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CRUCIBLE – Love & Money (Fellside Recordings FECD212)
What do you get if you mix the sounds of The Young Tradition, The Albion Country Band, the albums Rattlebone & Ploughjack and The Complete Dancing Master together…Crucible would be my guess. And what a glorious sound it is too. Starting with the four members (Jess & Rich Arrowsmith, Gavin Davenport and Helena Reynolds) all getting stuck into some fine harmonies with the calling-on song “The Captain’s Song” this quartet prove no slouches in the vocal stakes. Each of the members are also good musicians following with “Roxburgh Castle/Up The Walls Of The World”. On the track “Three Maidens” in what could be a seriously repetitive melody the song is broken by thoughtful use of melodeon and occasional dramatic flourishes from the fiddle. Mind you, if it’s something more up tempo you’re looking for check-out the lusty “Collier Lad/Highland Mary”. This is a very enjoyable ensemble who are proud not only to wear their English musical heritage like a badge of honour but also don’t shy away from taking a leaf out of the Faustus/Spiers & Boden photographic train of thought utilising cleverly staged modern scenarios to front their CD sleeve. Definitely a band to watch out for!
Pete Fyfe
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Cathryn Craig and Brian Willoughby at the Regent, Doncaster (14th April 2008)
I was pleased to finally catch one of Cathryn Craig and Brian Willoughby's gigs tonight after many a missed opportunity. Their names have emblazoned many a folk club or festival flyer over the years but I've never managed to find myself in the same room at the same time. This was rectified tonight when I finally got to see them at the Regent in Doncaster.
Whilst Brian's background is that of seasoned guitar accompanist with the likes of Mary Hopkin, Joe Brown and Nanci Griffith as well as lead guitarist with The Strawbs, Cathryn's background is steeped in the traditional music of the Appalachians. Their musical partnership is therefore unique and draws from a wealth of different styles, where it has been described as 'Anglicised Americana'. From the opening song "Old Guitar" which demonstrates Cathryn's beautiful voice, reminiscent of Eddi Reader it has to be said, and Brian's generous guitar accompaniment, we are drawn into song after song of outstanding quality.
Throughout the performance various themes were eloquently addressed both in word and in song. During the first half, each song was preceded with informative rather than portentous introductions by Cathryn whilst in the second, much of the between song introductions were reduced in order to let the songs speak for themselves. Such themes as the Boxing Day Tsunami ("Surrender") and Autism ("Alice's Song") were addressed with heartfelt compassion, completely devoid of mawkish sentimentality. "Alice's Song" was in fact written for Brian's niece, which was subsequently released as a single by The Strawbs, for The National Autistic Society's Year of Awareness, and Cathryn and Brian's treatment of it tonight was one of the high points of the performance.
I should imagine anyone who gets up in an English folk club to sing "Dixie" would be hard pushed not to segue into All My Trials and go all Glory Glory Hallelujah on us, to a rolling blanket of swaying cigarette lighters. Cathryn Craig can sing "Dixie" and push aside all that nonsense; bypassing The King by at least a century and have us all back in the American Civil War with no strain on the imagination whatsoever. "Mr Jefferson" reminds us all that even a President of Thomas Jefferson's historical stature, of one who to this day still rubs shoulders with Washington, Lincoln and Roosevelt (see Wikipedia under 'Mount Rushmore') could also have pretty diabolical views on slavery. Like the infamous wolf/ears analogy, 'you don't want to hold on to it, but you don't want to let it go.' Mr Jefferson really ought to have stopped being a wuss and let it go!
The outstanding performance of the night was Cathryn's powerful song for Matoaka (Pocahontas), the inspirational "Accanoe" which matched Peter Rowan's "Land of the Navajo" for sheer heart stopping drama. The additional percussive rattle (cleverly attached to Cathryn's wrist) and haunting vocables added authenticity to the Native American chant which brought the song to it's powerful climax and which ultimately became one of the most memorable moments in this club's history, period. The song ended the first half as there was nowhere to go but the bar after such a performance.
Other remarkable songs of the night were "This Night, These Dreams and You" with Brian's beautiful guitar accompaniment, Cathryn's bold supportive comment on her niece's wanderlust "I Will" and the soulful "Walk Slowly through This Life", which pretty much sums up my code of living. A triumphant night.
Allan Wilkinson
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Elowen - Elowen
Cornwall-based four-piece Elowen were just about ready to release their debut 14 track song collection and passed on a preview copy for me to ponder upon. I pondered upon this long and hard, whilst being treated to a potted history of the sort of songs I have lived with for the best part of the last four decades and the results of my pondering are quite pleasant indeed. No wonder it took so long for me to chuck in a response, I was too busy wallowing in my own personal nostalgia.
It's back to simpler times with this, their eponymously titled debut, to times when maids were sweetly singing in Bedlam, Johnny was busy cobbling away in the workshop, the Scots and English were trying to reconcile their differences on either side of the Tweed and the English Rose was actually a rather lovely folk song, and not Kate Winslet as we all previously thought.
There's a sense upon hearing Elowen that Kim, Michelle, Phil and Yvette have been listening to the right stuff over the years, and have absorbed some of the finer aspects of the folk revival. The choice of material seems to have been borrowed from some of the better sources and I cannot help but wonder whether some of the songs on this album were learned from the same places I first heard them. Both Sides the Tweed couldn't really come from anywhere other than Dick Gaughan's 'A Handful of Earth', which I spent much of the Eighties wearing out on the Dansette myself, but I may be wrong.
There's a pretty even blend of both traditional and contemporary material as well as a couple of Breton songs cultivated over the years somewhere closer to home. Neil Young's "Old Man" is the surprise inclusion on this collection but fits in well with the other more traditional fare. The decision to add a nice flute part makes all the difference between a straight cover and a nice new arrangement.
The standout song is probably the traditional "Ornament Tree" (or "Bonny Portmore"), which maintains a flavour of Bert Jansch, but manages to break free of the guitar drenched arrangement and becomes much lighter and more accessible and reminds us once again what a beautiful song this actually is.
Elowen's album has put a smile on my face and has unwittingly set my imagination on an otherworldly course, through vernacular agrarian festivities and Mediaeval pageants, complete with Pre-Raphaelite apparel. These songs and these harmonies bring out this sort of harmless daydreaming.
Allan Wilkinson
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Sam Proctor - Natural Progression
Sam Proctor’s Natural Progression is an aptly named first album; being a culmination of tunes played in sessions around London and the south east, but mainly in the legendary Herschel Arms pub in Slough, home to the late great pipes maker Dave Williams.
An album that gently seduces instead of shouting to grab your attention; with subtle and graceful additions from masters in their field Luke Daniels, Tim Edey and Duncan Lyall. It shows Sam’s influences-from growing up in Nottingham where his parents ran the famous Co-op Folk Club, to touring with the ‘Spirit of Ireland’ dance show. All the best bits of traditional music entwined with flashes of a brand new style.
The beautiful ‘Joe’s’ - a slow air played with emotion usually seen in older musicians; ‘Daybreak’- a happy, celebratory dance of a tune, and the Greek sounding ‘Cous Cous Kiss’- twists, turns and tempo changes, the bodhran accompaniment always sympathetic and never show stealing. The popular ‘Chloe’s Passion’ [currently also on albums by Julie Fowlis and Breabach] is a fitting end to this debut- with Sam’s twin sister Kate playing flute on my favourite tune of this album.
Sam Proctor is supporting Lau at their South Hill Park gig on April 30th.
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