125 f
iece Pyramids disbanded towards the end of that decade, only to re-emerge in 2012, in response to the growing popularity of their original albums. This, their third album since reforming, was recorded in London with pro- ducer Malcolm Catto (of local kindred spirits The Heliocentrics) and in its own eccentric way is something of a gem.
The sound is held together by Ack-
amoor’s sax (often abrasive, sometimes pleas- ingly and surprisingly syrupy), Sandra Poindexter’s violin and all kinds of effects. Vocals tend to be chanted rather than sung and the eight lengthy tracks frequently wan- der into unexpected places and spaces, whilst always remaining in the groove. There’s a fair bit of this Ra-influenced stuff about at the moment and most of it tends to disappear up itself. The difference here is the inventiveness of the arrangements, the playfulness and melodic strength frequently on display, the quality of playing and the obvious passion and commitment of all involved.
idrisackamoorandthepyramids.band-
camp.com Jamie Renton
DUCK BAKER
Les Blues Du Richmond: Demos And Out- takes 1973-1979 Tompkins Square TSQ5500
This compilation of early recordings opens with the joyous, skipping ragtime of Maple Leaf Rag, drawn from a 1973 demo tape. Baker applies his laconic vocal croon to pleas- ing effect on a trio of Jazz-era dance craze songs in Charleston Mad, Doing The Racoon, and Jelly Roll Morton’s Wolverine Blues. Allah, Perhaps and Homage To Leadbelly – the latter of which starts and finishes as a Davy Graham-esque Midnight Special – combine folk melody and free jazz. While Baker quickly abandoned his experiments in combining the two styles, these tracks offer an intriguing insight into both his febrile creativity and a solo guitar music that might have been.
Recorded in London between 1977 and 1979 for Kicking Mule Records, the second side offers more familiar Bakerisms in Fire Down There and the deceptively intricate calypso Little Boy. That Rhythm Man is a fine trio recording with jazz-swing violinist Mike Piggot (whose playing graces many an album by both Bert Jansch and Ralph McTell) and bassist Joe Spibey.
Traditional tunes are well represented
with Humors Of Whiskey (an Irish slip jig that undergoes subtle jazz mutations) Sandy River Belle, Swedish Jig, and the song air Pretty Girl Milking A Cow (as sung by Judy Garland in the film Little Nellie Kelly).
An essential purchase for long-time fans and a terrific starting point for those new to the man proclaimed “a true genius of the guitar” by Stefan Grossman, this album proves that nobody makes a nylon-string gui- tar sing ’n’ swing like Duck Baker.
duckbaker.com Steve Hunt JAMES PATRICK GAVIN
Chewing The Fat Sleight Of Hand SOHR1702CD
This debut solo album from fiddler and North Londoner James Gavin is a tribute to his Irish musical roots and family ties. It is clearly a labour of love by Gavin and his friends and fellow London-Irish musicians who appear on this album. The traditional and contemporary material here is performed and composed by James Gavin (fiddle, viola, mandolin, guitar), J Eoin (guitar, vocals), Seamus Gavin (vocals, harmonica), Tad Sargent (bouzouki, bodhrán), Hugh O’Neill (banjo), Philomena
Gavin (voice), Tommie Black-Roff (accordeon), Jez Hellard (guitar, vocals), Adri- an Lever (guitar), Paddi Benson (uilleann pipes), Órlaith McAuliffe (flute) and Dominic Henderson (uilleann pipes, whistles).
This is an absorbing collection of urban Irish folk-music, with fine performances all round and some breathtaking fiddle-playing by James Gavin. Just listen to his rendition of The Lark In The Clear Air, duetting with J Eoin’s tender vocal. Another must-listen is Jez Hellard and James Gavin’s raw, intense, mov- ing version of Ewan MacColl’s The Joy Of Liv- ing. An extraordinarily good debut album.
JamesPatrickGavin.com Paul Matheson BILL SPENCE & FENNIG’S
ALL-STAR STRING BAND The Hammered Dulcimer Rides Again Front Hall FHR 305
The music of Spence and Fennig’s, of Voorheesville in eastern New York State, evokes in me a glow of warmth, happiness and a sort of coming-home recognition.
Spence is one of the pioneers and trail- blazers of American hammer dulcimer play- ing. He plays with a relaxed joyfulness that works equally well for leading a tune and accompanying a song, a deceptively clever use of spread chords to create a full accompa- niment, and his dulcimer has a distinctive rich, almost piano-like tone, with just the right amount of sustain.
Bill Spence & Fennig’s All-Star String Band
There’s a lovely lift, push and swing to the whole band, the dulcimer and piano blending and energising as one, with springy fiddle or sometimes guitar or lovely plunky banjo.
The first CD of this double is newly recorded, by the band as it is now – Spence, Toby Stover on piano and George Wilson on fiddle, guitar and banjo. It’s a mix of tunes and warm singing and harmonising, all three band members getting to sing lead, abso- lutely natural without any posing or put-on old-timeyness.
The line-up over the years has changed a little, but the spirit and essence haven’t. Early on, it was Spence, fiddler Tom McCreesh, banjoist Jon Pedersen and pianist Joan Pelton; Stover and Wilson joined in 1974 and ’75 respectively, so they’re not exactly newcomers. CD2 is tracks from the four Fennig’s LPs of 1973 to ’81 that haven’t previously been released on Front Hall’s two CD compilations from them. My first hear- ing of Spence and Fennig’s was at the time of that 1973 first album, when Neil ‘Con- certina Consciousness’ Wayne played it to me, and indeed Alistair Anderson plays con- certina on one track.
The material in these delightful 32 tracks is widely sourced, including trad and origi- nals, old and newer, from the USA, Cape Bre- ton and French Canada, Scotland, Ireland, Wales, including by the likes of Bruce Phillips, Seegers Pete and Peggy, Uncle Dave Macon and band members.
andysfronthall.com Andrew Cronshaw
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