Fronted by guitarist Ford Collier and vocalist-banjo player Kate Griffin, winners of the inaugural Christian Raphael prize at last year’s Cambridge Folk Festival, and augmented by jazz-folk double bassist Joss Mann-Hazell, Mishra are a new Sheffield-based ‘global folk collective’, the instrumentation on their debut album, The Loft Tapes, encompassing clawhammer banjo, African calabash, Irish whistle and bouzouki with John Ball, their mentor at Sheffield university, guesting on tabla.
Each track a single live take recorded on analogue tape, predominantly self-penned, as you might surmise it straddles several musical styles and cultures, opening with a 50 second drone, whistle and banjo intro improvisation on ‘Raag Jog’, a Hindustani classical raga (the trio are named for a Hindu Brahmin surname), before tabla picks up the thread into ‘Road Dust and Honey’ merging eastern and Gaelic flavours and suggesting such influences as Davy Graham and Jack Rose.
Banjo and whistle make the running on ‘Chase The Sparrowhawk’, another instrumental, that sounds traditional but was written by Collier. Indeed, the album has a balance between tunes and songs, the former also encompassing ‘Jog For Joy’, tabla and banjo playing off each other in a hybrid of raga and jig, and the six-minute jam closer ‘Morphology’ that, in addition to banjo, whistle and table, also features Collier reciting in Tabla Bol, the spoken form of tabla drums.
Returning to the songs, among the their own work particularly noteworthy are the plaintively waltzing Appalachian-shaded ‘Beautfully Blind’ which, for some reason, reminds me of ‘Lord of All Hopefulness’, the jazz-inflected, whistle-driven ‘Taru Taru’ (which may or may not have anything to do with race of magic users in Final Fantasy) and, the most folksy of them all, ‘Keep Your Kindness’, the only number on which Collier and Griffin share the vocal parts.
There’s also two non-originals, the first being an arrangement of ‘Angeline The Baker’, a song written by Stephen Foster for the Christy Minstrels in 1850, in which the narrator (male but sung here by Griffin) laments that he should have married the titular Angeline, a slave who has now been sent away by her owner.
The other, and one which further nods to their Americana sensibilities, is a faithful reading of Gillian Welch’s unsettling Southern Gothic number ‘Scarlet Town’ from The Harrow & The Harvest. Together, they make for an impressive and multi-textured debut and it’ll be interesting to see how they expand their global folk fusions in albums to come.
Artists’ website: www.mishramusic.co.uk
‘Scarlet Town’ – live:
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