The four pillars of traditional Scottish music are, as you know, the air, the march, the strathspey and the reel. With this in mind, Mike Vass wrote the suite of music that became The Four Pillars for the 2018 Scots Fiddle Festival. He’s not greedy, though, and the album features three other fiddlers with Tom Gibbs on piano, Iain Sandilands on vibes and percussion and a string quartet whose fiddlers both play violins, of course.
I probably wouldn’t have begun with the Air section which features Lauren MacColl. ‘After Years’ and ‘The Ancient Day’ are beautiful tunes but slow and quite long and they might have worked better as a change of pace after the Strathspey section. Mike himself takes charge of the marches. The first is another slow tune, ‘A Handful Of Dust’ featuring himself on two fiddles while ‘From Regions Far Apart’ features all the supporting musicians. Again, it’s rather slow and if you’re looking for funeral marches both would do very well, although the vibraphone part in the latter might be rather incongruous.
Patsy Reid takes charge of the strathspeys. The first, ‘Martial Tunes’, is also rather stately, in the traditional manner rather than as music for dancing. ‘Thrown Away’ picks up the pace a little and builds up quite a head of steam by the end. ‘Torrent Of A Thing’ open with pizzicato fiddle and pizzicato viola, if I’m not mistaken, and involves all the players. It feels as though it belongs in a grand salon.
The reels are the province of Jenna Reid. ‘Frenzy In The Coda’ and ‘Under These Notes’ again involve the whole ensemble. As with all these pieces, Mike has followed the musical ‘rules’ but has taken the forms a step away from their original functions. This is not a record to put on for a ceilidh.
“Ancora impara” said Michaelangelo, aged 82, and I probably don’t need to tell you that means “I am always learning”. [I suspect you might – Ed.] That’s something that Flook have taken on board with their first album since Haven in 2005. Flook didn’t go away in those 14 years, playing festivals, live shows and tours so why the lack of studio material? As Brian Finnegan says, “We…took a break in 2008, followed our hearts and instincts and went our separate ways; had kids, got hitched, loved, lost, explored the musical world…” Now they’re back with a Ancora, an album that shows that even iconic bands don’t rest on their laurels but continue to look for the new. This album will delight their many fans, attract new ones and be listened to by anyone who loves tradition as played by four experts.
Flook formed over 20 years ago, winning Best Band at the BBC Folk Awards in 2006 and at their heart still retain original flute and pipers Sarah Allen and Brian Finnegan, now joined by Ed Boyd (guitar, piano) and John Joe Kelly (bodhran). As well as the band the album includes a who’s who of guest musicians including Phil Cunningham, Philip Henry, Patsy Reid and Niall Murphy. There’s even Mark Tucker playing the theramin. The quality shines through and every track, none traditional, on the album is spot on. Hang on, didn’t I say the traditionalists will love it? Yes, I did because tradition doesn’t just mean it has to have been around for years. The 12 tracks on the album are formed from twenty tunes of which the majority are written by Allen and Finnegan but they also use works of contemporaries such as Jarleth Henderson, Sam Lakeman and John McSherry. It’s a living, breathing tradition.
The overall impression of the album is quality musicianship. The playing is precise and tight, they make it sound all very easy and natural, with the music flowing seamlessly. As an album of purely instrumental work it gives you, as the listener, a choice of dipping in and out or listening straight through. I’ve found it ideal to put into the car stereo for the trip to work, it has a running time of just under 50 minutes, and arriving in a much better frame of mind than I would normally do. Opening the album are two tunes by Finnegan; ‘Reel For Rubik’ and ‘Toward The Sun’. As expected the flutes dominate but the piece moves up through tempo and intensity and introducing the other instrumentalists.
This change in pace and style is common throughout the album, but never becomes rollicking. Probably my favourite piece, although a difficult choice to make, is Allen’s ‘Companion Star’ which is absolutely beautiful. It flows so well, at a gentle pace, and it’s very easy to imagine oneself on a boat just drifting along following that star. The segue into ‘Coral Castle’, co-written by Finnegan and Ashley Broder lifts the pace and introduces further instruments but again the title fits the piece, and anyone who has dived a coral reef will recognise the rhythm of life within it. .
I could easily have chosen ‘Turquoise Girl’ as another favourite track. This is a set of four tunes by four different composers, again flowing smoothly, with a faster pace that certainly gets the toes tapping. I can imagine it going down very well during a live performance.
This is certainly an album you should buy, a milestone from an iconic band, and get it now so that you can say you had it before the inevitable awards come along, because it will gain many Instrumental Album of the Year plaudits if there’s any justice in the world.
The album will be released on April 12th but is available to pre-order now through the website. Alternatively I’m certain it will be available at live shows and Flook will be taking it on tour throughout 2019, covering most of the country from Findhorn to Sidmouth.
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The Railway is the much-anticipated new album from Scottish musician Hamish Napier. The follow-up to Hamish Napier’s critically-acclaimed debut solo album The River, Hamish’s newest album will be released on Friday 3rd August.
Returning to his hometown of Grantown-on-Spey, Napier’s collection of new compositions and songs were specially commissioned by the new Grantown East: Highland Heritage & Cultural Centre – the formerly derelict Grantown East railway station that is been lovingly restored as a cultural centre and is set to open on 2nd November 2018.
In 2016, the new owners approached Hamish, as one of Scotland’s finest traditional wooden flute players, to capture the sounds, atmosphere and culture surrounding the old Speyside Line.
In the course of his research for the new album, Hamish conducted interviews with railwaymen closely connected with the Great North of Scotland Railway, including Jimmy Gray (93, a driver from Aviemore), Jocky Hay (94, a driver from Inverness) and James Telfer (94, the last signalman at Grantown-on-Spey East Station). Many of the tunes and songs on The Railway have been inspired by the great stories these men have to tell about their working lives.
The album showcases a stellar line-up of Scottish musicians including Ross Ainslie, Patsy Reid, Ewan Robertson, James Lindsay and Fraser Stone. The Railway also features two songs written for the project by Hamish’s brother Findlay Napier, and cameos from the Strathspey Railway’s whistles, wheels and brakes.
A few words from Hamish on his new album:
“When I performed my debut album in Grantown during the summer of 2016, the new owners of the Grantown East: Highland Heritage and Cultural Centre approached me and asked if I would compose a soundtrack for this fantastic new venture – I was so honoured to be asked!
“‘The Old Railway Station’ as I called it when I was wee, was just over the river from my house. It was haunted and as a dare my brothers, pals and I – including Fraser Stone, the drummer on this album – would sometimes sneak into the forbidden derelict buildings. Over two decades later, with the ruin carefully restored as an important local monument and centre, the ghosts of the railway people are given a platform to tell the world their story.
“This album is dedicated to the railwaymen and women who I spoke to during my research – the inspiration for so much of the material on this album has come from them and the stories they shared with me about their working lives.
“I am so honoured and proud to be given the opportunity to help bring new life to the heritage of my local area with this album. I hope that the listener feels that the music, lyrics, titles and tales capture the atmosphere and sounds of the lost railways of the North and the people that were closely connected with them.”
Hamish Napier is originally from Strathspey in the Scottish Highlands. For over a decade he has been an integral part of Glasgow’s vibrant folk music scene, whilst also touring in Europe and North America.
Hamish’s Celtic Connections’ New Voices commission The River received 4 and 5-star reviews in four national publications, and was released as a highly-regarded debut solo album, named ‘Album of the Week’ on four BBC folk radio shows in Scotland, Shetland, Lancashire and Ulster.
Hamish and his band will present a live performance of The Railway as part of Piping Live Festival in Glasgow on August 17th & 18th, they will also do be performing a live set for BBC Radio Scotland’s Travelling Folk special from the Edinburgh Festival on Sunday 5th August before going on to open the new Grantown East: Highland Heritage & Cultural Centre on Friday 2nd November.
Napier is part of the bold traditional duo Nae Plans with fiddler Adam Sutherland and also performs regularly with Duncan Chisholm, The Jarlath Henderson Band and Ross Ainslie.
He has recorded on over forty folk albums to date, recording with leading Scottish musicians such as Karen Matheson, Donald Shaw, Mike Vass and Eddi Reader.
Over the last decade Hamish has been shortlisted for twelve MG Alba Scots Trad Music Awards, including Composer of the Year, Album of the Year and Tutor of the Year.
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Curated by Hannah James and released by Shrewsbury Folk Festival, Resound is a multi-tasking album. Firstly, it’s a tribute to Alan Surtees, founder and organiser of the festival and secondly, it’s a fundraiser for the Alan Surtees Trust which aims to give grants to young musicians and new musical projects. All the music comes from artists who have been associated with Shrewsbury over the years, often through projects commissioned by the festival.
The album has been, for the most part, cleverly sequenced. It opens with Oysterband’s powerful acapella version of ‘Bright Morning Star’ which certainly makes you sit up and pay attention and follows that with Jon Boden’s mighty ‘Audabe’. The foot comes off the loud pedal just a little wiith Patsy Reid’s ‘Thugainn’. I like the way that ‘Song For Lola’ by Lucy Ward is followed by Fay Hield’s ‘Raggle Taggle Gypsy’ – two unashamedly northern voices side by side. Perhaps living in those climes during my formative years has made me equate the accent with authenticity. I wish that Kefaya’s ‘Indignados’ had been placed beside Grace Petrie’s ‘They Shall Not Pass’ – two songs about Spanish politics, albeit separated by several decades should be available to compare and contrast. The Demon Barbers’ version of ‘Ranzo’ is as good as anything they do but perhaps it could have been saved for a big finish.
The album now turns to pastoral themes. ‘The Lincolnshire Song’ by Miranda Sykes is gorgeous (although I’m holding out for the Peak District, Miranda) and Leveret’s ‘Bagpipers’ is one of their gentler pieces. ‘Vanished Birds’, another fine song by Jack Harris is followed by the lightest version of ‘Neil Gow’s Lament’ I’ve ever heard. Hannah modestly saves her own contributions for late in the proceedings. First comes ‘Tuulikki’s Tune’ from her Jigdoll album and then ‘Order & Chaos’ by Lady Maisery.
Karine Polwart’s ‘We’re All Leaving’ makes for an appropriate ending although I can never decide if a record like this is better served with a period of reflection at the end or something rousing and defiant. Whatever you think, you should buy this album – you wiill enjoy it and you’ll be contributing to a good cause.
The cover tells you most of what you need to know about this album. Will Pound, here devoting more of his energies to melodeon than harmonica, was brought up in the Morris tradition and is a long-time member of Chinewrde Morris. Through The Seasons is a project he has long cherished and has brought together some fine musicians to realise it. Although there are a convenient twelve tracks, this is not a calendar – the Plough Monday tune comes in at number nine – nor is it a user manual. It is, as Will himself says, a celebration.
If you have even a passing interest in Morris many of these tunes will be familiar to you but possibly only the hardiest will have heard ‘The College Hornpipe’ or ‘Papa Stour Sword Dance’ in situ. You will certainly have met ‘Getting Upstairs’, ‘Trunkles’, ‘The Nutting Girl’, ‘Brighton Camp’, ‘Salmon Tails’ and ‘Ampleforth’ not to mention ‘The Liberty Bell’. The selection of tunes covers Cotswold, North-West, Border, Rapper, Molly and Longsword.
At the core of band are fiddler Ross Grant and Benji Kirkpatrick playing bouzouki, banjo and guitar but Will has called in a few favours, notably John Kirkpatrick who leads the melody on the Border tune, ‘Not For Joe’ and Eliza Carthy who lends her fiddle and voice to ‘The Nutting Girl’ – the latter proving that she is a Waterson through and through. Fiddlers Ross Couper and Patsy Reid are drafted in to add authenticity to the Shetland tune that closes the set.
Purists, if any are left, may take exception to one or two liberties taken with the arrangements – Will certainly does odd things to ‘Brighton Camp’ – but the casual listener will enjoy Through The Seasons immensely and I’m sure it will be in every car on the way to a folk festival this summer.
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It was only in December that Ross Ainslie’s fantastic solo album, Sanctuary, was released, and he is back again already, this time with Ali Hutton in a very welcome second celebration of their long-standing partnership. Symbiosis II (despite sounding like the title of a particularly difficult contemporary art piece) is a logical successor to their previous album, Symbiosis, and – appropriately – clear lines of connection join the two.
Symbiosis II is dedicated to Hutton’s grandad, who is also the subject of the first tune of the set entitled ‘Grandad’s’. This reflective piece makes a worthy companion, a mirror, to the delicate music box he previously created for his grandma, on the first album’s ‘Grans’.
As with the first album, titles are thematic one-word embodiments of the tunes that lie within (and an apostrophe pedant’s heaven!). The only non-original work on the album is ‘Goretree’, a tender Tommy Peoples cover. A number of the tunes have been specifically commissioned, and are credited accordingly. Whether composed by Ainslie or Hutton, the blending of the individual tunes into a set is never less than sublimely skilful, there’s no sudden lurch, no visible join, it all flows immaculately.
Despite these echoes of the first album, Symbiosis II pushes off into new territory, playing with notional boundaries of traditional music. It’s also definitely more of a “studio” album, given the addition of sound effects and synthesisers. Storm effects on ‘Mick’s’ give way to fast, fierce piping over a dark synth undercurrent, for instance, whilst ‘Birds’ features a clever interplay of whistles and pipes to reinvent the birdsong audio of the intro.
There is some striking, often quite moody, percussion, such as on the terrific ‘Kings’ where it lends an immediacy and a specific modernity to the tune ‘Dine Like Kings’. In the second part, ‘King Of The Mountain’, Patsy Reid’s strings add a dream-like drone, quite unlike the more tense, pulsating backdrop they provide on ‘Mink’. Andrea Gobbi’s thoughtful mixing ensures that nothing becomes overwhelming and a coherent balance is maintained throughout.
The duo’s core sound (Highland pipes, cittern, whistles, guitars and banjo) becomes more richly fleshed out as a result, and they wring a staggering variety of moods from whistles and pipes: lyrical and breathy, writhing and sinuous, beefy and muscular – and every shade in between.
Ross Ainslie and Ali Hutton must surely be two of the most prolific young men around in Scottish music at the moment. Working in a dizzying variety of (often award-winning) projects their output never seems to falter. Symbiosis II is another superb addition to the catalogue.