LUKE DANIELS – Old Friends & Exhausted Enemies (Wren Wren019)

Old Friends & Exhausted EnemiesLet me own up and say I blow somewhat hot and cold regarding Daniels’ music. I wasn’t a fan of Revolve & Rotate, for which he composed new music on a 19th century polyphon, and I found Singing Ways To Be More Junior a bit of a hit and miss affair. However, subtitled Seven Centuries of Poetry from Chaucer to Auden, Old Friends & Exhausted Enemies gets the thumbs up. Not a setting of poems by an anthology of English poets as such, rather he speaks of them as ‘collaborators’, borrowing snippets and lines, or even a single word, here and there to create his own songs, deepening his appreciation of his inspirations along the way.

Working with double bassist Jenny Hill and percussionist Signy Jacobsdottir as his core backing alongside contributions from the likes of Zi Lan Lao on Chinese harp, Rihab Azar on Syrian oud, Swedish cittern player Ale Carr and the Arco String Quartet,his first port of call takes in Thomas Campion, William Barnes, Robert Herrick , James Joyce, John Masefield and Alfred Lord Tennyson for ‘Girl With The Nut-Browne Hair’, a traditional folk styled love song which also evinces the fingerpicking influence of Nic Jones.

The warmly sung reconciliation and parting title track is slightly less wide-ranging in its cherrypicking, taking in Ben Jonson, John Dryden and even Isaac Watts’ hymn ‘Our Help In Ages Past’, followed by the equally measured pacing of ‘Officer Of My Career’ which, coloured by Abel Selacoe’s cello, calls upon John Donne, Robert Bridges, Sir Walter Raleigh, Robert Herrick and the rather more obscure Korby Lenker for a song about seeking direction which, with its line about “door splits and the CDs sold by hand” clearly directs thoughts to the struggles of the itinerant musician.

The waltztime fingerpicked ‘Who’s Going To Stop?’, a call for help and support in troubled times when you feel lost and alone is all his own work, then it’s back to the bards with Sir Walter Scott, Robert Browning, Wordsworth and Marlowe among those lending their words to the strings and piano-accompanied ‘Father’s Cradle Song’, a tender lullaby from a parent to their child as they grow and take their leave, the track transforming into jazzier keyboard shapes.

Another solo flight, ‘I See The Good In You’ has a bluesy ragtime swing (not to mention the line about being a “a grumpy bastard”) before, given a husky vocal reading and an American folk blues feel, ‘The Weed The Wood And The Wagg’ is, with just a couple of minor tweaks, a setting of Sir Walter Raleigh’s poem of encouragement to his son.

An Irish traditional, built around piano and strings with a drone-like vocal delivery, ‘The May Morning Dew’ concerns the passing of time and the memory of those that have gone before, the mood and tempo shifting to more upbeat, notions of mortality also percolating through the even deeper vocals of ‘Where We All Must Go’ with its dark Appalachian gospel resonances, the forlorn cello stains giving way to slightly brighter bluegrass notes. These are picked up and given their head on ‘Jim Beam & Brown Sugar’, another musicians inspired number, that calls to mind Martin Simpson’s work in the genre.

He returns to his literary sources from the last two numbers, first up being the sparse hymnal piano melancholia of ‘Soldiers And Sailors’, a cocktail of Browning, Masefield, Burns and Ciaran Carson that again reflects on changing seasons, unknown futures and the need to have both anchors and the freedom to set sail. Finally, the father of English literature himself, Geoffrey Chaucer provides a fitting sign off with ‘Prologue To The Canterbury Tales’ as, the language slightly tweaked, Daniels sets the entire opening stanza to music, primarily arranged for piano with other instruments feathering the path.

It’s an outstanding collection of work that not only advances Daniels’ growing reputation but which will hopefully send listeners back, like him, to discover the richness of the country’s literary heritage.

Mike Davies

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Artist’s website: www.lukedanielsmusic.com

‘Prologue To The Canterbury Tales’:

Luke Daniels announces new album and single

Luke Daniels

Following on from his critically acclaimed debut album What’s Here What’s Gone in 2014, Revolve & Rotate in 2016 (**** The Guardian) for which he restored and composed new music on a 19th century polyphon machine and Singing Ways To Feel More Junior, 2017 (**** Songlines) which used children’s folk rhymes as inspiration for some very grown up songs about the dangers of global capitalism and artificial intelligence, Luke Daniels has returned with a fourth solo album that promises to be his most interesting to date.

The title of this album refers to the many poets with whom Luke has “collaborated” to produce some of his new songs and his own personal journey from difficult first encounters at school to a much deeper appreciation of their work in later life. Slices of the English poetry from the past seven hundred years appear in these songs as reworked lines, phrases and imagery from Chaucer, Jonson, Burns, Dryden, Browning and Auden to list but a few, all woven into new work which as a result, references some of our most beautiful English verse.

Luke has worked his way through this large anthology to collect and pool anything that sparked his own imagination before allowing it to shape and hone his latest work, in some instances just a single word or as with Geoffrey Chaucer’s Prologue To The Canterbury Tales, setting whole passages to music.

“The project has been a study of my own making and time well spent at an important stage in my development as a songwriter. Amidst such creative company these Old Friends and Exhausted Enemies have made me a very grateful student.”

Luke is a skilled composer and songwriter who comes from a background of folk and traditional music. He has worked for two decades as an instrumental musician on melodeon, piano and guitar, straddling many genres with solo performances at London Jazz Festival, with The London Philharmonic Orchestra and as a member of the Riverdance Band.

A diverse range of musicians feature on his latest record including Zi Lan Lao (Chinese Gu Zheng) Rihab Azar (Syrian Oud) and the South African cellist Abel Selacoe (with whom Luke has been performing as the Kaleidoscope Quartet). Other members of his Glasgow based team include Signy Jacobsdottir from Scottish Ballet on percussion, Jenny Hill on double bass from Songs of Separation, Lyle Watt (Blue Rose Code Band) on guitar and the acclaimed Swedish cittern player Ale Carr. An additional Irish contingent includes fiddler Aidan O’Donnell, The Arco String Quartet from Belfast and The Donegal Abbey Singers. The album was produced by Daniels and Paul Savage (Mogwai, King Creosote and Karine Polwart).

Artist’s website: www.lukedanielsmusic.com

‘Old Friends & Exhausted Enemies’ – promo video:

PAUL ANDERSON – The High Summit (Fingal Records FINCD506)

High SummitI sometimes while away an idle moment trying to discern trends in Scottish music and I always fail. There are young musicians playing the oldest tunes they can find, others pushing the boundaries of composition in their reinterpretation of old forms and some playing rock’n’roll on bagpipes and big drums. Paul Anderson falls into yet another category, a composer of new music that sounds as old as the Aberdeenshire hills that he’s celebrating. The High Summit is his third album of his own music.

Paul’s fiddle is the dominant sound, of course, but he has a fine bunch of supporting musicians all whom would grace any album. Top of the list, I suppose, is keyboard player and co-producer Ali Napier who also gets a tune named after him. Then there are guitarists Tony Mcmanus and Malcolm Jones bringing two very different styles to the party, Swedish cittern player Ale Carr and James Gorgon who plays extraordinary percussion on ‘Corporal Hare Of The Royal Marines/The Diamond Special’.

There are eighteen tracks on the album, many quite short, and all save one are instrumentals. Paul names his tunes after places and people in the old-fashioned manner so ‘Anne Cromar Of Morpeth’ and ‘Alastair MacDougall Of Hopewell’ get name-checks. The odd track out is ‘The Bonnie Banks O’ Dee’, co-written and sung by Shona Donaldson, who also has the closing track named for her. Shona has one album to her credit and it’s very tempting to track a copy down but I digress. The song captures perfectly the cadences and feel of the Scots tradition and if a duo album of their original songs doesn’t emerge out of this I’ll be very disappointed.

The High Summit is a lovely album, full of bouncy dance rhythms and beautiful airs. It’s a record that you can easily lose yourself in.

Dai Jeffries

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Artist’s website: http://www.paulandersonscottishfiddler.com/

Going the extra mile, Paul films himself playing ‘Balmoral’ on Lochnagar: