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VARIOUS ARTISTS Gentle Men Irregular IRR088
Back in 1997, Robb Johnson’s seminal song- suite Gentle Men delivered a determinedly non-jingoistic, unsentimental commentary on the First World War and its consequences, filtered largely through the experiences of his two grandfathers, in memory of whom the work was written. However, Robb has subsequently felt that the writing would have bene fited from more time for reflec- tion, and that the attempt to convey a sense of closure through reconciliation didn’t quite succeed. He therefore decided to take a fresh look at the suite, and in the course of so doing, three new songs were written giving a wider historical perspective; the incorpora- tion of these within the sequence, along with the ditching of four of the original songs and some judicious re-ordering, has the effect of sharpening the work’s focus to reflect the current (and unanticipated back in 1997) political situation.
Importantly, the 2013 version also pos- sesses a distinctive new musical ambience which stems principally from the deployment of completely different accompanists (here Jenny Carr’s piano, Jude Abbott’s euphonium and John Forrester’s double bass together replacing Koen de Cauter’s Golden Sere- naders band in the earlier version). Equally crucial though, is that Robb has now engaged the brilliantly versatile Barb Jungr to take on Vera Coomans’ role, and Barb brings an exceptional degree of insight, perception and intelligence to her contributions (I might especially single out Empty Chair and the re- constituted Dead Man’s Pennies). However, arguably even more pronounced an element in the 2013 Gentle Men is the painful intensi- ty and gravitas which Roy Bailey (who, with Robb himself, forms a bridge between the two versions) brings to his role, both through the recognisable continuity of his actual voice and his unbelievably powerful and chokingly touching portrayal of the wholly inevitable toll that fifteen years of reflection and harsh experience has brought.
Gentle Men Mark 2 makes sense in so many respects, and the new songs are perti- nent in the extreme: the two-part Home By Christmas is both economic and poignant in expression, while An English Heaven’s verse sung in German makes its point more telling- ly than the now-expunged The German Exchange could in Mark 1. I’m not entirely convinced that the two biographical sketches now dropped from the suite deserved that fate, but all other 2013 changes, including vital structural and textual alterations, feel absolutely right. For instance, the message of Deeper Than Dugouts is now reinforced with its spare, funereal chordal accompaniment setting into relief the unmatched passion of Barb’s standout performance. Making The Gardens Grow, now placed as penultimate number, has been recast by communally involving all three singers, while Nobody’s Enemy has been shifted to form the closing song in what now seems a perfectly logical resolution to Robb’s earlier self-confessed doubts about the conclusion of the work.
1997’s Gentle Men was abundantly valid, and will remain so, both as a creative artefact and a meaningful commentary on WW1, but the current revision provides an even more stunning experience that through the benefit of considered hindsight has been trans- formed into a more sharply-focused artistic statement. It comes in two variants: double- CD-set with booklet, and limited-edition book containing memoir and lyrics and enclosing the same two discs.
Distributed by Proper.
http://gentle-men2014.co.uk
David Kidman Lunasa LÚNASA
Lúnasa With The RTE Concert Orchestra Lúnasa Records LCD 002
Lúnasa’s continual evolution has increased their popularity worldwide with no drop in their musical quality. Their latest album in collaboration with the RTE Concert Orchestra combines the formal orchestration of music with the essentially spontaneous and imme- diate. Lúnasa’s flowing ensemble work and character blends well with an orchestra – bet- ter in fact than expected. Playing a repertoire from already existing material they combine skilfully especially on Morning Nightcap and the extended eleven-minute An Buachailin Ban set where ambient brushstrokes mix with robust traditional flavours. The combination offers breathing space for Kevin Crawford, Kilian Vallely and Sean Smyth to display their wares on flutes, pipes and fiddle while the rhythmic bedrock of Ed Boyd and Trevor Hutchinson anchor the leads. While the Bre- ton and Asturian strains of Casu and Breton Set unite fulsomely, the reels and jigs provide the greatest challenge for the orchestra to follow. Pierre Bensusan’s plaintive The Last Pint offers a breather while the final Merry Sisters Of Fate chases the finish line admirably. Lúnasa With The RTE Concert Orchestra offers a successful blend of articu- lation and raw nerve-end pulse.
www.lunasa.ie John O’Regan
JUPITER & OKWESS INTERNATIONAL Hotel Univers Out Here OH024
After their Glastonbury success, after many years of interest but with no recordings on sale, here’s a debut record that doesn’t disap- point. Throbbing with intent from the start, the stance is bold and confrontational. The cover is brooding, foreboding, and the sub- ject matter coincides. Lyrics deal with the grind of daily life in the contemporary Congo. Independent or dependent? asks Jupiter Bokondji, lead singer and writer of all but one of these songs.
Difficult questions abound. On most songs the tone is set by a clangy electric gui- tar recorded in an echo tank. It feeds out endlessly repeating streams of pressure- building riff, ending up more like a texture than musical notes. Adding to this pressure is a hyped-up rhythm section that doesn’t relax, always pushing. Nevertheless there is enough space in the mix for Jupiter’s vocals to be
quite unforced: he sings and speaks above the inferno with authority. There’s room for spoken interplay between vocalists, like small drama fragments, also for street recordings. It’s a rich mix, and it draws from traditional forms too – bringing a heartbreaking sense of a calmer previous way of life. Roots that can nourish in a troubled today.
www.jupiter-okwess-international.com Rick Sanders
JACQUI McSHEE’S TAKE THREE Take Three JAG Records T3001
“She’s got a voice that sounds like liquid chocolate,” says one dreamy punter at Jacqui McShee’s recent local arts festival gig. A com- pliment I’m sure, and what she really meant was perhaps that McShee’s is a distinctive vocal, instantly recognisable, superbly adapt- able. It’s that adaptability which is key on this feathery delight, an acoustic aside from the day job of Pentangle. Taking Gerry Conway and his percussion kit along was a given, however Alan Thomson (he of booming fret- less bass) transfers astonishingly well to an unplugged guitar and delivers a knowing foil to Jacqui’s tones. Between them they easily glide from delicate opener One Morning In May where trad becomes a filigree of hushed jazz funk, via the nonsense riddles of Notta- mun Town and Americana Will The Circle Be Unbroken, to the deeper delta Turn Your Money Green. On this, McShee acquires a sudden resonance and emphasis. “More money than Rockefeller’s ever seen,” promis- es the lyric, but by her vocal you know the odds are hopeless and a drunken game of cards is more in order.
Elsewhere love turned sour abounds;
Factory Girl gets a simplification and there’s no disguising the irony in a story of rejec- tion. Blackwaterside deals in plain decep- tion, economical accompaniment allowing Jacqui space to elaborate and get under the skin of the song. Similarly The House Car- penter, all doom and betrayal, is stripped back and gains added focus because your ears aren’t always listening for a keyboard fill or stoned guitar lead.
Take Three maybe a re-imagining of past works but by placing much that is familiar in sparse, intimate arrangements you are reminded of the power and individuality of Jacqui McShee. That, reader, is no bad thing.
www.pentangle.info Simon Jones
Photo: Eric Politzer
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