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simple, gentle compassion and observation:
fondly wistful (as in Different Rooms) or
whimsical (Grateful For A Home).
The astounding accomplishment of
Gren’s flowing fingerstyle playing remains
refreshingly unflashy, and forms the perfect
counterpoint to Tom’s lively fiddle (check out
the distinctly Swarb-like joyous swing that
Tom brings to Old Sir Simon The King), yet
the duo also switch effortlessly across to old-
time mode (viz. their mischievous back-
woods-style take on the Playford tune Par-
son’s Farewell). Although their fiddle/ man-
dolin-with-guitar/ banjo complement pro-
vides more than enough aural interest,
there’s selective but effective augmentation
from Clover Abbott (backing vocals on three
tracks) and Edwin Beasant (pleasingly unin-
Photo: Oriana Elicabe
trusive melodeon on a couple of items).
As second albums go, Boundary is a very
satisfying record, but one that will very prob-
ably make album number three an even more
difficult proposition.
www.tomandgren.co.uk; via Proper.
David Kidman
Ojos De Brujo
ALMASÄLA
Baraka for immigrants with no papers. Una with some tunes both self-penned (by Sam)
Ahora Ventilador Music CDAO63
Verdad Incómodo (An Inconvenient Truth) and from other countries.
has guests Kumar and Maxwell Wright join-
The songs have been carefully chosen,
OJOS DE BRUJO
ing Marina and the band calling for all to
with some well-travelled ‘household names’
unite against Aids, the Iraq war, the iniquities
(Dance Ti’ Thee Daddy, Blow The Wind
Aocaná Warner Music Spain 2564691345
of Guantánamo and all kinds of exploitation.
Southerly, Lavender’s Blue) thrown into relief
It’s also got one of the most priceless lines I’ve
Two discs out of Barcelona, both full of the
by the less usual, more ‘specialist’ items like
come across in a while: “Take my hand, free
work of two women singer-composers.
the classic ballad of The Laidley Worm O’
your hypothalamus”!
Almasäla’s Ahora (Now) is the work of
Spindleston Haugh. Around half of the songs
Vivid images and inspiring energy con-
Paloma Povedano. Recorded by Barcelona’s
are done unaccompanied, and the intimate
jured up in sound is an Ojos trademark and
Ventilador music and mixed in Buenos Aires,
recording accurately and sympathetically cap-
here impressionistic juxtapositions in their
it’s an intimate piece of work. In a way it’s a
tures the essence of Graham’s vocal talent. He
stream-of-consciousness lyrics are particularly
‘nu’ techno-flamenco disc: every song has a
also turns in exceptional performances of Ed
fruitful. The hit song is probably Todos Mor-
gentle electronic (computer-programmed)
Pickford’s heartfelt Ee Aye I Cud Hew, the
tales (Mortals All) with its catchy gira gira
frame using found sounds from breaths,
resigned Sair Fyeld Hinny, closing the album
(spin spin) chorus (hear the remix on CD2!).
clocks, water drops and sirens to much more,
most fittingly with a stunning rendition of
The second CD is a mesmerising set of remix-
which gives it a chilled slightly mysterious
Terry Conway’s noble, stirring anthem Fare-
es, spot-on for club use. Their brilliant musi-
atmosphere. Into this comes the great guitar
weel Regality (recently given welcome expo-
cianship really shows up here.
of Josete Ordoñez, Guillem Aguila’s bass and
sure by the Winterset).
Paloma’s versatile voice. She’s a fine singer
Their guests – my favourites are Mayito
Sam is an outstanding young instrumen-
exploiting a gamut of timbres with gentle
and members of Cuba’s Los Van Van band for
talist who’s not only blessed with an
expressive theatricality drawn from conven-
the infectious rumba-son dance Busca Lo
admirable degree of dexterity but also can
tional flamenco styles to tenderly tell emo-
Bueno (Seek Out The Good) extolling the
appear demonically possessed with an infec-
tional stories. There’s a caressing whispered
virtues of celebrating and being confident in
tious (sometimes very audible!) bounce to the
almost lullaby approach, notably Africa,
life – fit brilliantly into the marvellous musi-
rhythms he conjures. On this disc, however, it’s
Aguita Del Río, Mujer and the sublime
cal flow. Undoubtedly Ojos’ extraordinary
the thoughtful side of Sam’s playing that real-
Paisajes. The Cuban-tinged Guajira is fabu-
attention to musical detail, and the vital way
ly comes into its own, especially on Auld Fish-
lously underpinned by earthy clave block
this impassioned collective approach every-
er’s Farewell To The Coquet with the pure sen-
rhythms and Rueda will have anyone danc-
thing they do, makes them one of the most
sitivity and expressive range of his embellish-
ing. This is a woman with a voice to follow: a
potent and powerful groups around. Long
ment. You might expect the restricted canvas
truly subtle and great disc.
may they catch the zeitgeist.
of voice and accordeon to wear thin over 70
www.ventilador-music.com, via Proper.
www.ojosdebrujo.com minutes, but it doesn’t feel lacking in any way;
Povedano’s one-time involvement with Jan Fairley
this proves a satisfyingly well-balanced disc.
Ojos De Brujo brings us to a disc of the year.
www.fellside.com, via Proper.
While heads are shaken about the effects of
the credit crunch on the ever-changing music GRAHAM & SAM PIRT
David Kidman
biz and plummeting disc sales, Ojos De Brujo
confidently produce a handsome-packaged
Dance Ti’ Thee Daddy Fellside FECD 218
NAJMA AKHTAR &
boxed set complete with an integral book of
To date, each Pirt – father and son – has
translated lyrics and idiosyncratic photos that
gained a formidable reputation in his own
GARY LUCAS
is almost as sensational as the record itself.
field. Graham’s best known as a member of Rishte World Village 450008
The disc’s title in the Gypsy Caló language is
the much-respected group Cockersdale (for
Aocaná Garlochí which means ‘Now With The
the past 20 years), although he’s a pleasing
Regular fR readers will be familiar with the
Heart’ and sums it up well. Is there anything
and refreshingly unmannered solo singer in
work of London-based ghazal singer Najma
this Barcelona-based collective, among the
his own right, with a sweetness yet lightness
Akhtar and New York guitar magician Gary
leaders of Europe’s world music scene, have
of tone that belies his emotional commit-
Lucas, both being virtuosos in their chosen
ever done without heart? Consolidating and
ment and deep understanding of the words.
fields. Believing Akhtar’s voice could work in
moving on creatively here, their funky hip-
Sam, on the other hand, is an immensely
an Indian/ blues fusion, Gary Nesbitt (an
hop grooved brand of rumba Catalana with
accomplished accordeon player: his big
American music lover) sought out Lucas and
flamenco and Latin touches and a lot more
break came as a member of 422 (1999 BBC
made the introduction. Najma and Lucas hit it
besides settles into resoundingly mature
Young Folk Award winners), but more off and immediately set about collaborating.
music, their stirring energy touching on the
recently he’s formed an ultra-dynamic duo, There is an easy, flowing quality to the 11
serene at times yet never losing its edge.
The Hut People, with The Beautiful South’s numbers recorded here that suggests the two
Most Ojos songs are composed by singer Gary Hammond. Musically, Graham and Sam musicians quickly found common ground
Marina Abad. Nueva Vida (New Life) shows complement each other very well, yet (Lucas’s 2001 album The Edge Of Heaven
motherhood deepening her already fine they’ve performed surprisingly few gigs as a found him having lots of fun with 1930s Chi-
vision; as does Lluvia (Rain) and Tócale Ya duo. I’m glad, therefore, that they’ve man- nese pop). Nothing sounds forced or the
(Play It To Her Now). Ojos music ticks so many aged to get together on record, and here result of studio trickery, instead with tabla
emotional boxes: the integrity of their poli- they present a canny selection of songs from and violin (on two tracks), a music epic in
tics remains a touchstone here notable in Graham’s native north-east, interspersed scope and intensity develops.
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