69 f
context, it’s interesting that on this latest CD Miranda and Rex are more than ever calling to mind that band – not just in terms of their mandocentric sound and the accomplished quirkiness of much of their choice of materi- al, but in terms of the general vocal and instrumental blend, for the latter now promi- nently features the exceptional guitar of “honorary third member” Grant Gordy (of Dave Grisman’s Quintet) on around half of the disc. Grant fits in brilliantly with the trusty virtuosity of Rex and Miranda them- selves – a marriage made in Gloucestershire (where Rex met Grant while teaching at a res- idential camp).
This CD is one of those rare examples that invites an equal and comparable degree of interest and attention to both material and musicianship.
www.sykespreston.com David Kidman
ROLAND VAN CAMPENHOUT
Dah Blues Iz A-Comming Meyer Records no. 187
This has my full, undivided attention before I’ve even heard a note. Removing the CD from its Jiffy bag, my eyes meet those of Van Campenhout, wizard-bearded king of the dharma bums, gazing stoically from the stark, close-cropped B&W portrait on the cover. My first and second thoughts are “who is this man?” and “what does he want?!”
He expresses his own blues in a wholly compelling way, with Indian drones and Chi- nese guitars casting the material in new and unexpected settings, miles away from the ersatz, bam-a-lama background muzak too often served-up as the real deal. This is appar- ent from the opening track on which guitar and bamboo flute extemporise over a drone for several minutes before settling on the familiar melody of Black Girl (In The Pines). It ain’t Nirvana but it’s Nirvana. (Zen Christmas cracker joke for you there, folks).
Van Campenhout (acoustic and slide gui- tars, raagini, harmonica, vocals,) Pascale Michiels (da ruan, Zhongruan, bamboo flute, vocals) and Steven De Bryn (harmonicas, vocals) recorded this album live in Cologne, last year. The performance took place in a theatre, so the audience, while discernibly present, is silent, only occasionally breaking into spontaneous applause at the conclusion of a song or the conjuring of a particularly fine harmonica solo.
It comes as no real surprise to learn that
Van Campenhout’s blues epiphany visited him in the form of John Lee Hooker, who played in Antwerp in 1969. The essence of Hooker’s less- is-more aesthetic is palpable in tracks like Going Down Slow, in which the use of space can be described as virtuoso. These three musicians listen to each other so intently they probably know what each other are thinking. Hell, at times it even seemed like they knew what I was thinking! Whilst researching and ruminating on Van Campenhout’s past associ- ations with Rory Gallagher and Derroll Adams, his voice, from the speakers, intoned: “Many good friends long gone, but every night I still hear them talk” (The Truth).
Van Campenhout’s own compositions,
Blue Azul, and Kosher Karma Sutra, should win him immediate approval amongst the Fahey and Basho fraternity, while cover ver- sions include a chugging version of Lead Belly’s There’s A Man Going Round Taking Names, a thrillingly sparse Eyesight To The Blind (a song that I first heard via Mr Clapton, in the Tommy movie) and a remarkable, Sonny & Brownie-style setting of Gregory Corso’s Second Night In New York City After Three Years (“Officer! Kiss me, please!”).
Roland Van Campenhout
While some see the blues as no more than the basic soundtrack to a twelve-bar- room brawl and others eulogise it as Missis- sippi haiku poetry, it’s immensely refreshing to hear these consummate musicians perform music of no-fixed-geographical abode that nonetheless sounds like it’s from a location somewhere very close to the enigmatic heart of the thing.
www.rolandvancampenhout.be Steve Hunt THE LANGER’S BALL
The Devil Or The Barrel New Folk Records TLB004
The globe creaks and groans under the sheer weight of so-called Celtic rock bands, where individuals driven by the inherent joy and accessibility of Irish music adopt names like Mad Mike Kirpatrick or Flogger O’Riordan and the music they create is a derivative Pogues-cum-Horslips mosh.
Some however avoid the melée and some push forward. Count among the latter The Langer’s Ball, from St Paul in the US of A. Before now, as a duo or in a one-off line-up, they’ve tinkered with the idea of full-throttle rock’n’reel, but the arrival of a powerhouse rhythm section including old chum Drew Miller of Boiled In lead on bass and a twang- some guitar player, gave the impetus to founders Michael Sturm and Hannah Rediske to dive head first into deeper water. Sure they source their material from the familiar but at least they can claim they’re aiming to put their own mark on it. For instance, I Know My Love, a rolling, rollicking piece kicked around but never over-sentimental despite the lyric of fading romance and regret; or how about The Wild Rover done as a polka? It has to be said there is a far too much alcohol about – from the title of the CD perhaps that should be obvious – notching umpteen references to ‘the rare auld stuff’, I’m surprised they can even stand up let alone
play. They do confess on One More that over- load can make the trip to the next gig rather difficult. Even when they want to get tender as on Mackey’s Daughter yes, you guessed it, the suitor takes a stiff drink or two before plucking up the courage to speak to his cho- sen. I like the geography which comes through on Whiskey Chaser, the roustabout which opens and zips around the States in pursuit of a barrel and a bar stool. Old-time touches lead the stampalong, unplugged Rye Whiskey and after thirteen takes the entire entourage are passed out, glasses in hand on the floor of the pub.
Bravo says I. They who dare, reap their own rewards and The Langer’s Ball in reset- ting their intentions can’t fail to impress. Nothing wayward here, decent grist.
thelangersball.com Simon Jones
DAVE TOWNSEND & GILL REDMOND
New Road To Alston WildGoose Studios WGS392CD
Although Dave and Gill have been perform- ing together for some years now, New Road To Alston is their first album as a duo; and it’s a real gem. Both musicians are well regarded for their stylish mastery of both the classical discipline and traditional folk, and for their formidable technique: Dave (creator of The Mellstock Band) is one of this country’s fore- most exponents of the English concertina, while Gill, a charismatic and versatile cellist, works with classical and early music ensem- bles as well as ceilidh bands. Theirs proves an ideal musical partnership, displaying wholly complementary levels of sprightly energy and invention, and this generously-stocked disc shows off their talents on a satisfying and balanced menu presenting tune-sets and songs in almost equal measure (a ratio of eight to six).
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84