renaissance viol consorts: the traditional set starting with The Rant is a fine example, with the cello really holding its own through the fiddle fireworks of Pipe Slang. Unfortunately, the cello leads are too often swamped by piano and guitar: Her Mantle So Green is the most cello-centric track here, a lovely melody arranged quite simply, allowing Hanson to shine for a few minutes. If you’re looking for a fiddle album with a generous slice of cello, plus a bit of button box from Tim Edey and some solid accompaniment on guitar and piano, this CD will certainly hit the spot.


Alex Monaghan VARIOUS ARTISTS


Stepping It Out Again Veteran VTC10CD


This is just the sort of CD I really enjoy delving into - music which is still relevant today but sung and played by those who are a real part of our tradition. The material on here has all been collected from the musicians during the last quarter of the twentieth century by John Howson, familiar to many through The Old Hat Concert Band and running the traditional sessions at Sidmouth for many years.


Quite rightly John was awarded the Gold Medal in 2011 as recognition for the work he has done in this field, or rather the pub or the living room, and this CD is the result of requests for a ‘greatest hits’ from his archive. John has done better than that by producing a compilation of recordings from his archive which for various reasons had never previously made it onto CD. I for one am really pleased that he took that path.


On here, amongst others, you will find Emily Vickers who was in her eighties when she was recorded in 1975, the first person John recorded; Cyril Barber from Suffolk who was later to join Old Hat; Tom Valentine Smith who learnt most of his songs from his father; Lucy Farr who was originally from Ireland but became part of the London Irish scene and played in the Rakes.


Whilst all deserve a name check, space doesn’t permit that, but mention must be made of Jimmy Lynch, a busker familiar to many on the streets of Liverpool - a true star. Jimmy is accompanied here by his wonderful dancing dolls as he plays melodeon – it’s worth buying this CD just for his contribution.


In the late 1990’s I remember seeing a young Irish fiddler and his grandfather at one of John’s sessions in Sidmouth. Darren Breslin was only 12 then, but he is on here with his grandfather again sounding just as good as I remember.


There are excellent sleeve notes with short biographies on each artist as well as extensive notes provided on all the tracks which bring it all to life. Thanks John for all the work you have done, and will do I hope in the future, but thanks also for Stepping It Out Again!


Dave Beeby Sponsored by BIrnam CD


Litha turns out to be the new name for the outfit previously known as 2 Duos (we presume the name change was instigated in order to avoid confusion with the Wood/Cutting and Tweed/Carr combo bearing an almost identical moniker). As you’ll recall, this particular quartet comprises four award-winning young musicians – two Scots (flute/whistle/fiddle player Claire Mann and singer/bouzouki supremo Aaron Jones) and two Germans (singer/fiddler/accordionist Gudrun Walther and guitarist Jürgen Treyz). They meet at this quite literal Celtic crossroads to share and celebrate their common ground through exciting yet truly relaxed musicianship that’s so natural and refreshing, partly because you feel (as they themselves clearly do) that they’ve nothing to prove.


Dancing Of The Light continues in the vein of collaboration established on the band’s debut Until The Cows Come Home which so captivated me back in 2009. It presents a further wholly enterprising selection of material drawn from an assortment of folk musics (not just Scottish and German sources), and still unashamedly incorporating quality contemporary songwriting alongside songs from tradition, while the purely instrumental tracks easily mix and match tunes from predominantly Irish sources with more recent compositions (including two by Gudrun and one by Jürgen).


Taking the six instrumental tracks first, these range from the driving but dynamically controlled charge of the Rosie’s Reels set and the sparkling Flying Dairymaids medley (moving easily from a Charlie Lennon opus to two old Scottish jigs, all played suitably whirlingly but never too fast!) to a quartet of Bavarian dances (Zwiefach) and, perhaps finest of all, a lovely pairing of the slow air An Buachaill Caol Dubh (which Claire learnt from Cathal O’Connell) with Gudrun’s charming New Year Waltz. Each of these selections is intelligently scored and superbly played, bearing replay in a way that instrumental tracks don’t always manage; and I particularly liked the instances when extra instruments (eg. dobro, guizouki, viola) are taken off the rack to provide additional felicitous variations in texture and balance.


LITHA


Dancing Of The Light Artes Records ARCD3045


Moving on to the songs, we find three sung in German: a dark dramatic ballad (Herr Oluf) from the age of Goethe, a setting by Gudrun and Jürgen of a poem by Theodor Storm (Mondlicht) and a perky treatment of the German folksong Nun Will Der Lenz Uns Grussen. These are complemented by fine versions of songs by Anne Lister (Icarus), Suzanne Vega (Gypsy) and Karine Polwart (Waterlily – from which this album takes its title, by the way), and a real discovery (Blind George, a story of local demons and brave fiddlers, from the pen of Tim O’Leary). Finally, album closer Ready For A Jar is a convivial group composition guaranteed to “set the house on fire”!


Vocally as well as instrumentally, Litha are truly blessed, since they possess two excellent lead singers in Aaron and Gudrun, while Claire and Jürgen’s backing vocals are both supportive and well harmonised. This CD is an especially scintillating example of the diversity principle at work providing an immensely satisfying listening experience. www.litha-music.com


David Kidman IAN SMITH


A Celtic Connection Private Label IS02


Ian is a songwriter from Ayrshire, who for many years now has been living near Burtonport in Co Donegal. This album brings his two lives together, with many of his songs inspired by people and places around Donegal, set alongside some of the Scottish songs that have influenced and shaped his musical life.


Ian has a warm and expressive voice, and his guitar playing is sublime – he has an ornate finger picking style that is quite unique and instantly recognizable. On this album he is joined by some fine musicians (including most of the members of Capercaillie) and with the CD being produced by Manus Lunny, the resulting accompaniment is as you would expect – top notch. But although the arrangements are very sympathetic, at times I find myself wishing Ian’s guitar was more to the fore, and that there was a bit more space to hear it.


Of the 12 tracks recorded here, nine are Ian’s. He is a skilled songwriter, and this is evident from the outset. Upon Culloden’s Moor is a great song about the people who are left behind when others go to war, and a very strong start. Emerald is a beautiful account of forbidden love leading to tragedy, and could easily sit alongside traditional songs of the same ilk. But the song that steals the show for me is The Brightest Sky Blue. Inspired by a local tale of a man whose wife left him, and who subsequently kept the door of his cottage open for 30 years awaiting her return, Ian masterfully weaves the story’s spell, painting a vivid picture for the listener and completely capturing the imagination. It is a masterpiece.


The traditional Scottish material adds another dimension to the recording, and works well.


The Living Tradition - Page 45


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