raison
d'etre
REVIEWS’ PAGE
FROOTS REVIEW
Almost
in danger of his music being overtaken by his legendary tenacity and survival
instinct, it's a real pleasure to report that Raison d'Etre
not only restores the name of Dave Swarbrick to a new
release, but does it in some style. Find enclosed what you might expect as well
as a huge proportion of what you most certainly wouldn't, no doubt both his
sense of humour and cavalier instinct are intact. From the off you're
gloriously wrong-footed as he struts out in fine style a reggae version of Spanish Ladies as if he's fronting E2,
but actually hand in glove with a rocksteady crew,
the Jason Wilson Band who're closer to Misty In Roots than Martin Carthy. Dub fiddle anybody? A
whirlwind of a creation, it's buoyed on a honking brass counterpoint which
lifts the full glory of the tune. Dodge and weave right to the other end of the
CD and there's a piece of pure crystal and grace, We Brought The Summer With Us, which has
high classical elegance and a lofty beauty. Recorded over a mind-boggling eight
years, the album's been a long time in creation, but given history that was
inevitable, as the promo blurb says, "I don't think it can be
repeated". The musicians present are worth the asking price and they allow
Swarb to shine each in their own way, by coming to
his work from different angles. His playing with the late Beryl Marriott for
instance is almost telepathic, likewise the exemplary jig set featuring Martin Carthy and John Kirkpatrick, they are chunky and dependable
whilst his fiddle flits and swoops like a swallow in full flight. Simon Mayor's
mandolin strings match note for note the violin on an inventive take of two
tunes from Playford, whilst the funk of Kevin
Dempsey's acoustic guitar is omnipresent though never intrusive and you have to
listen hard to isolate his soulful strumming.
Consisting
of chiefly Anglo/ Irish tunes, Swarb's notes are
precise, down to listing 18 editions of The English Dancing Master, but then
the detail is obviously important to him as he engineered and produced too.
Nice to see credits to family, friends and medical team, though the real kick
here is the name of his label, the catalogue number and his wife Jill's label
design - yer man in night shirt 'n' slippers! Long
may he be a shirty one, that's just fine in my book. Time marches on but his
restless spirit and adventure remain. Raison d'Etre
is better than anyone could have hoped.
Available via
Proper.
Simon Jones
LIVING TRADITION
Eight
years in the making, four EFFDSS 'Gold Badge' award winners involved,
previously unrecorded English music from the end of the seventeenth century and
the first half of the eighteenth as well as a couple of self-penned tunes,
together with a reworking of the opening track from Dave Swarbrick's
first ever album, are the basic ingredients of Dave Swarbrick's
latest masterpiece.
If it
wasn't for his stunning ability then this could quite easily have been a
disaster. Many have delved into early historical periods, to find unpublished
tunes, surrounded themselves with master musicians only to find the project
less than satisfying. But he pulls it off in true Swarbrick
style.
The
CD opens with a set of tunes he used to play many years ago in the Beryl
Marriott Ceilidh Band - the same Beryl Marriott who
features on a couple of tracks here. This time Spanish Ladies has been reworked and Dave is joined by Canadian
Jason
As
you would expect, the tunes researched from the works of Playford,
Bunting, Wright and Walsh need careful listening and demand your attention.
Featuring Martin Carthy and John Kirkpatrick, the set
starting with A Jigg
Called Long Time from the Daniel Wright Collection is certainly one of the
most ambitious. This gives way to the startling piano introduction provided by
the aforementioned Beryl Marriott to the final track, We Brought the Summer With Us, which features Dave Swarbrick' s
playing at its best. A truly stunning end to a brilliant CD.
But
it is one of Dave's own tunes that is the truly
outstanding track on Raison d'Etre. On Andy's
Waltz, Dave plays the baritone violin and comes up with one of the richest
sounds you will ever hear. When the powers-that-be start compiling those
nominations for those awards then this track should be there for Best Original
Tune it's that good. In fact the CD is that good too.
We
are blessed in the folk world with many good fiddle players. Some go on to
become very good; some even become great. Only a few go on to be a master of
their instrument. Dave Swarbrick shows on Raison d'Etre
just why he is one of that select few. Highly recommended.
Dave Beeby
MOJO
There's
much to celebrate on this rare solo album by one of the great British folk
institutions, not least that he’s still around to make it Always far more than
the rampaging fiddler of Fairport legend, he treats us here to his full range
of enduring skills, through hearty baroque to classical, Irish and ceilidh music. (4stars)
RECORD COLLECTOR
A culmination of eight years'
work
During
the last decade, Dave Swarbrick has been lauded in
virtually every possible way a folk musician can be for his solo work and his
historical collaborations with Fairport Convention and Martin Carthy. His fans will rejoice to engage with this, an album
that the man has been assembling over the last 10 years. If you're expecting a
crowd-pleasing, Fairport-styled jig'n'reel-athon,
however, you'll be disappointed.
Instead,
you get much more, as Swarb offers a historical
overview of his career influences and the best of the music he's drawn from.
The opening medley revisits light and summery dance tunes from his first album,
before continuing with a rich variety of moods and time signatures on hornpipe,
Morris and country lilts. Of his own material, there's the contemplative Andy's Waltz, where he uses a baritone
violin, and the gentle Sweet Alban,
written for his partner Jill. He saves one of the best to last: We Brought The Summer With
Us, arranged by and played with his long-time friend, pianist Beryl
Marriot, leaving us with a beautiful, plaintive melody. Swarb's
sleeve notes give a full history of the tunes, making the whole album a rich
embrace and a re-affirmation of our shared culture.
R2
Who
among us has not heard, on warm moonlit nights, the parrot on our shoulder stroking its feathery chin and spouting
cod-psychology? Many, no doubt, will go into psychobabble mode about raison d'etre. Having lived to read his Daily Telegraph obituary,
having survived life-threatening illness and transplant surgery, Dave Swarbrick has packed plenty into this, one of the finest of
the year's crop. He had everything to play for when making raison d'etre between 2002 and 2010.
This collection
of original and originally adapted pieces shudders with passion and joie de
vivre. Recorded with the likes of Maartin Allcock, Martin Carthy, Kevin
Dempsey, John Kirkpatrick, Beryl Marriott, Jude Rees and others assisting, it
fair fizzes with flavoursome ideas. There is nothing roustabout, nothing
jig-a-jigging or knockabout about it. Much of its repertoire has serious 'folk
literature' leanings such as Henry Playford, as well
as names at the mention of which many will reach to don the dunce's cap. Names
like Edward Bunting, John Ravenscroft, John Walsh and
Daniel Wright.
This
is definitely not a knock-out-a-contractual-obligation album; listen to his masterclasses in bowing on 'Sweet Alban' and A Jigg Called Long Time/Running Footman's Jig/The Brown Joak' and laugh and weep. Someday soon, some bright spark
is going to tag folk as New Retro. When that day comes, Swarbrick's
raison d'etre will be at the forefront of the Oxford
English Dictionary’s first occurrences of the term. raison
d'etre is a very, very special example of New Retro.
Ken
Hunt
PENGUIN EGGS MAGAZINE
Known best for his work with Fairport
Convention and Martin Carthy, the inimitable Mr. Swarbrick now steps into the limelight with a fine
collection of recordings he has assembled at various points over the past eight
years. Having undergone a double lung transplant in 2004, and seen his
obituary prematurely published in a British newspaper, it would be a fair
assumption to say he is glad to be alive. That is certainly the impression gained
from listening to this collection. He breezes his way through jigs, reels,
hornpipes, waltzes and goodness knows what else with verve and aplomb.
If there is a jauntier fiddler on the
planet than him, I would love to hear them play. He can also tackle slower,
more sedate material with great depth and feeling. Any fiddler worth his or her
salt will want to listen to this and, if they have any sense, steal a bit from
this almost-lamented master.
Tim Readman
TAPLAS
HAVING
been started before he received his lung transplant, Raison d'Etre took eight years to
complete and sees Swarb in a reflective mood. In some
ways, it is a reprise of his career - the opening track of his first album is
revisited. In other ways, it's a thank you to friends and supporters, a tribute
to fellow musicians and, last but not least, a demonstration of his continuing
passion for traditional music. Six of the tracks are his arrangements of
previously unrecorded tunes, published between 1680 and 1745.
It
goes without saying that it's an exemplary collection. Standout tracks include The Fair Haired Child, with Beryl
Marriott on piano, and Sweet Alban,
written for his partner Jill. Throughout, his playing is superb and the
accompanists outstanding as he features "14 of the best players" he
knows.
Iain
Campbell
FOLK MONTHLY
On
April 20th 1999, The Daily Telegraph carried an obituary for Dave Swarbrick. Happily, you can't believe everything you read
in the Telegraph and Dave is still very much with us. Maybe the incident has its echoes in the
naming of this latest album, eight years in the making and produced and
engineered by Dave himself.
This
is obviously a very personal project for Dave.
Eight of the eleven tracks feature music drawn from tune collections
published in the 18th century. There's also a very different, brassy treatment
of one of his early sets. And Dave includes two of his own fine compositions,
'Sweet Alban' being dedicated to his partner Jill Swarbrick-Banks. Dave has also put a lot of thought into
selecting the musicians - notably Beryl Marriott, a huge influence in his early
days, mandolin wizard Simon Mayor, Martin Carthy
(naturally) and long-time collaborator Kevin Dempsey.
Dave
has selected music that should be brought to the attention of modern-day
musicians. The Fair Haired Child from Bunting's Ancient Music of Ireland
(1796), featuring Beryl Marriott, is exquisite.
But it's the tracks of English music from the same century that I find
most interesting. The fiddle was the folk instrument for that period and some
of the music written down then must appear daunting to fiddlers today. One
category of tunes - 3/2 hornpipes - has only come down to us in print, having
dropped out of the traditional repertoire. It needs someone of the musical
stature of Dave Swarbrick to play these tunes and
inspire the session fiddlers to rank English music on a par with Scottish and
Irish. The technical ability Swarbrick displays is
breathtaking.
The
final paragraph of the Telegraph obituary is worth quoting: Swarbrick
would have been happy to die in harness. "No one is going to take me off
the road," he once said. "That's what I like doing - going out and
playing. I hope to do it until the day I die." I think everyone would
agree with that.
Bob Taberner
NETRHYTHMS
Reason
for being, indeed!... for barely one spin of even the
introductory bars of the first track will give you all the reason to be alive.
That trademark feelgood joyous swing bursts out of
the speakers like nothing else you'll ever hear, and puts the magisterial
presence, the essence and vigour of the iconic Swarb
right there in front of you: the sheer embodiment of the fiddle. Bringing us,
in effect, full circle from the opening salvo of Swarb's
very first LP excursion (the magnificent Rags, Reels & Airs), with Spanish
Ladies receiving a bit of a chirpy makeover in a spanking (or should I say skanking!) new recording by Swarb
with the six-piece Jason Wilson Band in happy - and tactfully contemporary
-consort. That’s but the first part of a four-part tune medley that really
cooks, which shows the multiple-award-winner and proud EFDSS Gold Badge Of
Merit holder at yet another career performing-peak, still playing from his very
soul: enviably effortless (ha!), totally in command and still utterly
unmistakable. And it just gets better through the ten tracks that form the
remainder of this new record, of which Swarb himself
honestly admits: "It has taken all of eight years for me to complete ...
and I don't think it can be repeated". Sessions for the disc took place between
2002 and 2010, mostly at Swarb's home studio in
Dave
Kidman
FIDDLESTIX
I
know it's stating the obvious, but the first thing to say about 'raison d'etre' is how good it is to have another Dave Swarbrick solo album to add to the discography! That can be
taken a couple of ways. Firstly, it reminded me just how much I've enjoyed all
the previous ones, stretching back in time many years now, and the
opportunities they've afforded Swarb to extend
musically in directions his musical life might not otherwise provide. And of
course, the credits thanking the transplant team at the QE Hospital,
On
the matter of musical direction, this CD is an interesting one. In common with
most of his previous solo work, it is still all instrumental but the players,
tunes and arrangements all have unexpected elements that make it a fairly
unique combination. For example, there is not really any folk rock as such, and
a large percentage of the tracks comprise rarely heard English tunes from the
seventeenth and eighteenth century.
However,
the surprises are apparent from the very start. Swarb
previously recorded the medley of Spanish Ladies / Geese On The Bog / Leather Away
The Wattle-oh / Freedom For Ireland on his first solo album "Rags Reels
& Airs" in 1967 but has revived it here in an entirely new arrangement
with his current musical compatriots, Canadian reggae outfit the Jason Wilson
Band.
Of
course, the combination of differing musical styles is nothing terribly unusual
these days, but it's still fairly unexpected in the context of a Dave Swarbrick CD. Not at all unexpected though is the way it
works so well - brass arrangements meet folk fiddle, and they happily meet each
other halfway and work as a team! The tunes themselves are still enjoyable as
such, and Swarb's playing still weaves happily in and
around the melodies as well as it ever did. Though the track is
unrepresentative of the album as a whole, it definitely arouses attention and
inspires the listener to become involved.
The
rest of the CD features many of the players he has worked with over the decades
such as Beryl Marriott and Martin Carthy, though not
always in the context one might expect - for example, Carthy
and John Kirkpatrick's ensemble playing on a medley of early eighteenth century
tunes. Marriott -Swarb's long time mentor and
colleague who has faced her own health issues in recent times - plays typically
beautiful piano on two tracks, The Fair Headed Child and We Brought The Summer With Us. These also feature Maartin
Allcock on very smooth bass and Kevin Dempsey on
acoustic guitar, so are practically a reformed Swarb's
Lazarus, with special guest!
Dempsey,
also a member of Whippersnapper with Swarb many years
ago, in fact features on the majority of pieces; his seemingly effortless
playing enhancing each of them appropriately.
Overall,
I'm not sure if there can be many direct comparisons to many of previous Dave Swarbrick solo efforts. It's clearly still Swarb's distinctive playing of course, but not in the
electric folk style of eg "Smiddyburn", and
even the more acoustic elements of "raison d'etre"
have a different focus to albums such as "Swarbrick"
from the mid-70s.
It's
probably the recurring theme of the previously mentioned eighteenth century
tunes that does it. One word that kept coming to mind while listening to them
was "stately", though the arrangement of Carpenters Morris / Frank
and Easie / Easter Thursday / Mrs Savage's Whim shows
that stateliness and briskness aren't mutually exclusive terms. The addition of Jude Rees on oboe is a
definite bonus; its texture adding greatly to the medley.
Perhaps
the highlight of such pieces is A Jigg Called Long
Time / Running Footman's Jig / The Brown Joak with Carthy, Kirkpatrick and Rees (who also adds recorder, shawm and curtal in this case).
It is a joyful track that to my mind compares favourably, in a more acoustic
fashion, to the Richard Thompson / Philip Pickett CD 'The Bones Of All Men' - and that is definitely meant as a compliment.
A
couple of Swarb's original compositions are also
included. Andy's Waltz is a slow lament in dedication to his late friend Andy
Smith, and is a lovely melodic tune, played on baritone violin. (As a side
note: the reference to Swarb's erstwhile musical
partner Alistair Hulett in the cover notes, along
with this lament, are further illustrations of the passing of time that seem to
inevitably form part of the backdrop of life, if one's own career lasts long
enough to allow it).
The
other original is Sweet Alban, written obviously with great affection for his
wife Jill Swarbrick Banks. Of course, this is a
happier tune although it took me a few listens to quite understand the
structure of it, and follow the melody and key changes as it went along. No
matter, it rewards you when you get there! Kevin Dempsey adds some quite jazzy
guitar work to this one.
Another
unusual aspect is the inclusion of another fiddler, Michael Burnham, on Ravenscroft 's
Fancy - another in the "stately eighteenth century tune" category.
Despite both playing similar parts, it's easy to tell which violin belongs to
whom and it must be said they complement each other well. The term "second
fiddle" would be utterly inappropriate in this case!
Dave
is also quite exhaustive in his cover notes in terms of describing the origins
of the tunes and where one can go for further information. I always appreciate
artists going to some effort to explain such things as it shows they care about
what they're playing, and about expanding that knowledge further. Also, even a
quick glance at the well-designed cover shows the thought that has gone into
that too. As I said at the start, it would be good enough to just have a new
Dave Swarbrick album. The fact that it is captivating
and works on many different levels can't really be called a bonus as it is
pretty much to be expected. Let's just say it's a keeper and one he can rightly
feel proud of. Insert obligatory "music is definitely
his raison d'etre" comment here.
Michael
Hunter
See
also http://www.folkicons.co.uk/swarbmenu.htm
EFDSS MAGAZINE
Dave Swarbrick - affectionately known as Swarb
- is a fiddler who needs little or no introduction after a career in excess of
fifty years in folk music. Over that period, Swarb
has carved out an instantly-recognisable style that, to my ears, is still
evolving. A few months ago I saw him in concert at Cecil Sharp House and was
struck by the way that his playing had developed to encompass the newer
additions to his repertoire, with an agile facility in the higher positions
that I hadn't noted before.
Swarb's latest
solo CD Raison d'etre
has had a fairly long gestation period, with recording starting in 2002 (the
year that he was awarded his EFDSS Gold Badge) and finishing earlier this year.
Not that Swarb is the only Gold Badge holder to
feature on the CD as the recording also features contributions from Martin Carthy, John Kirkpatrick and the late Beryl Marriott, which
brings the total to four, possibly the highest Gold Badge count ever on a
record.
Raison d'etre opens with a reworking of the 'Spanish Ladies Medley'
(the opening track from Swarb's first solo album
Rags, Reels and Airs) which sees Swarb teaming up
with the Jason Wilson Band from Canada, whose line-up includes piano, organ,
guitar, drums, bass, two saxophones and a trombone. This rockist
volley is followed by a beautiful arrangement of 'The Fair Haired Child', taken
from Bunting's 1796 collection, The Ancient Music of Ireland, and which gives
centre stage to Beryl Marriott's arranging talents and peerless piano playing.
Beryl also features on the album's final track, another gorgeous melody from
Bunting 'We Brought the Summer With Us'. Between these
points there are two Swarb originals and a further
six sets of English tunes in duo, trio and band settings.
Raison d'etre brings to the listener a selection of great tunes played
in Swarb's inimitable style and is the work of a fine
fiddler who simply refuses to lie down and rest on his not inconsiderable
laurels. www.folkicons.co.uk/swarbmenu.htm
Robbie
Thomas
MARDLES MAGAZINE
If
Dave Swarbrick had died in 1999 as reported in the
Daily Telegraph on April 20th of that year we would not onlv
have lost, in the words of Ashley Hutchings "the most influential fiddle
player bar none", but would also have been deprived of another decade of
unique music making by a man who has now brought out his first CD on his own
label. In some ways it could be seen as a retrospective, but it is full of wit,
originality and above all musicianship as exemplified by Swarb
over 50 years.
To
begin at the beginning, there are two tracks featuring Beryl Marriott, in whose
ceilidh band he started his professional career. Both
The Fair Haired Child and We Brought the Summer With
Us come from Bunting's Ancient Irish Music 1796 and the arrangements are a
delight. Spanish Ladies/Geese on the
Bog/Leather Away the Wattle-oh/Freedom for
The
11 tracks on this CD were recorded at Swarb's home
and in
SHIREFOLK
Swarb has been working
on this CD for 8 years and he says 'I don't think it can be repeated'. This
collection features his arrangements of previously unrecorded tunes from 1680 -
1745 from Playford, Daniel Wright, Buntings etc, as
well as two of his own compositions. He has called on the services of many of
the big names of the folk world to accompany him such as Martin Carthy, John Kirkpatrick, Kevin Dempsey and Maartin Allcock. Two tracks also
feature the piano playing of the great Beryl Marriott and I am saddened to have
heard of her recent death on 30th July, as I write this.
If
you have kept away from older tunes because you think they are somewhat staid,
this is the album to make you think again. Swarb
brings life, rhythm, pace and his own distinctive style to all the tracks here:
his bow flies on Granny's Delight;
his baritone violin sings a sad and mournful song on Andy's Waltz; Buttock Beef
has a melody as bizarre as its name merits. Each track is worthy of mention in
its own right, the arrangements are original and sensitive; the backing
instrumentalists all attract your attention without detracting from their role
of accompanist. This CD is a 'must' in the collection of anybody who likes folk
tunes new or old!
Steve
Cavill
WHAT’S AFOOT
Dave Swarbrick is one of the very few folk performers who have
virtually become a legend in their own lifetime. This album, some eight years
from conception to completion, captures him at his best, a joyous feast of
musicality.
The
opening Spanish Ladies medley brings
back memories of his early vinyl LP Rags,
Reels and Airs with Martin Canhy and the late Diz Disley and, though on this CD
it has been rearranged with the Jason Wilson Band, there's no mistaking the Swarbrick touch on the fiddle. Martin Carthy
makes a guest appearance along with John Kirkpatrick on the early 18th Century
set which includes The Brown Joak. (Morris dancers might well find the notes on the
origin of the well-known Black Joke tunes enlightening!)
Dave Swarbrick recalls with great affection playing with the Beryl
Marriott Ceilidh Band and the lovely pieces taken
from Bunting's Ancient Music of Ireland are a perfect blend of fiddle and piano
from these virtuoso musicians.
On
many tracks Dave is joined by guitarist Kevin Dempsey. Their duet, Sweet Alban, composed for Jill Swarbrick-Banks is, in my opinion, perhaps the most
captivating tune on the whole album.
Much
of the material is drawn from the 18th century collections of Playford, Ravenscroft, Wright,
and others. The unusual length tunes, the triple time hornpipes and intricate
melodies give the opportunity for Dave to produce some amazing and
inspirational fiddle music which would challenge many a competent performer on
the instrument.
Anyone
expecting to hear some influence from the folk-rock period with Fairport
Convention will be disappointed. I guarantee, however, that no-one will be
disappointed by the superb album that Dave has put together, supported by
many-friends who are also top class musicians and performers in their own
right. An outstanding album in every way.
Colin
Andrews
FOLK DIARY
I
really can't remember when I enjoyed an album so much. It would be impossible
not to enjoy any album by Dave Swarbrick, but this
brand new collection is an absolute delight.
Although
he's surrounded himself with a team of hugely talented friends, it's the
ever-present Swarbrick talent which demands your
attention.
On
the opening track he's joined by Canada's Jason Wilson Band giving their all on
piano, organ, drums, trombone, tenor and alto sax and bass guitar which, on
paper, sounds a bit over the top, but it works a treat, as do the tracks where
he's joined by just one or, perhaps, two other musicians.
The
wonderful Beryl Marriott's deft piano playing graces a couple of memorable
tracks and I particularly liked Granny's
Delight/The Man Tiger, two Playford tunes on
which he's joined on mandolin and mandocello by Simon
Mayer, but I shouldn't start singling out individual items. That wouldn't be
fair. The standard throughout the entire album is absolute perfection.
(JM)
FOLK
Eight
years in the making, this latest offering from Dave Swarbrick
is a first-rate, wonderful assortment of tunes, superbly played in his
characteristically, seemingly effortless, style. Revisiting his groundbreaking
Rags, Reels & Airs album of over forty years ago, Swarb
reprises the opening Spanish Ladies medley, this time in the company of the six
piece Canadian Jason
Brian
Cope
FOLK NORTH WEST
"It
has taken all of 8 years for me to complete this CD and I don't think it can be
repeated" says Folk music's foremost fiddle player, alluding to the slower
pace of life that has necessarily arrived with the double lung transplant of 6
years ago. From the opening 'Spanish Ladies' medley, accompanied by the
excellent Jason Wilson Band, a sprightly feel sets the mood for a melodically
compelling and varied album. This set of tunes opened 1967's 1st album with
Martin Carthy and Diz Disley and even now retains the perky swagger of 40+ years
back.
Swarb doesn't
do vocal pieces in his live sets these days, but he still keeps his audience on
its toes and you'll get some very detailed and absorbing introductions
embracing composers and collections of possibly unfamiliar dance tunes. That
approach is mirrored here. Quite apart from the more well-known John Playford, whose 'Granny's Delight/The Man Tiger"
played here with a firefly dart and deftness, are hardly everyday in any case,
the collections of Edward Bunting and Daniel Wright are drawn upon. Dave has
researched English music from 1680-1745 to produce a cohesive album that isn't
just an exercise in academia, (though I'd love to see his library!) it's full
of heart and soul and not a little dignity.
He's
chosen his associates well - among whom are
("glorious") Beryl Marriott on piano from his earliest Ceilidh band days, Carthy of
course, and plenty of Fairport alumni. It must be said that 'Raison d'etre' is a wonderfully affecting record - scaling the
emotional heights of 'Smiddybum' in this writer's
opinion.
Clive
Pownceby
IRISH MUSIC MAGAZINE
A
seminal figure in the
John O'Regan
I
haven't heard much of Dave Swarbrick since his
illness and was interested to see what he was doing with his music these days.
The
CD begins with a set of well-known barn dance tunes e.g. Spanish Ladies,
arranged by Jason Wilson and backed by his Canadian band lead by Swarbrick. An unusual arrangement, rather along the lines
of La Bottine Souriante
meets reggae with a bit of Broadway musical thrown in for good measure. All a
bit over clever and smooth for my taste but Swarbrick's
playing is as sharp and melodic as ever.
Many
of the tracks feature unfamiliar and complex tunes from a range of historical
periods, backed by well-researched and informative sleeve notes.
On
some of the tracks the tune tends to get lost in among the complex arrangement
and sometimes the speed seems to take over and the resulting sound can be
rather messy, but then Swarbrick's unique style of
bending the notes both in pitch and pace must mean that the more musicians
there are backing him the harder it is for everyone to stay with him.
The
CD features folk luminaries such as Martin Carthy and
John Kirkpatrick, but apart from Swarbrick's masterful
fiddling it was the guitar work of Kevin Dempsey which I found most impressive.
As an accompanist myself, I take my hat off to Kevin who keeps up with Swarbrick's cracking pace on the faster tracks without
losing precision and in Andy's Waltz, one of Swarbrick's
own tunes, his sensitive guitar work beautifully complements the baritone
violin (a new instrument to me).
Another
high point for me is the next to last track, a set of three 18th Century tunes
which were very jolly and had a good period feel to them.
Just
as I was lamenting the lack of any whistle-able or, frankly, nick-able tunes
along came the last track - an absolute delight - a fine tune, well-arranged
and played.
Interesting
is the word I would use for the CD overall, with fine musicianship throughout
and Swarbrick having lost none of the bounce in his
music. Unique.
For
further details see http://www.folkicons.co.uk/swarb.htm
Lyn
Cooper
WEB REVIEW
Recorded
between 2002 and 2010 in
This
is another rather tasty card/cardboard Lp
type CD cover and features D.S.'s hands on a black background. A simpler and
more honest statement could not be found. The music takes its cue from this.
Track 1 is probably my favourite, a tune set and folk rock work out hinting at
the good old days of Fairport (comprising Spanish Ladies/Geese on the
Bog/Leather Away the Wattle oh/Freedom for Ireland) There are plenty of tunes
sets for the more acoustic minded, namely the rest of the CD! Swarbrick has done his research and has supplied excellent
sleeve notes regarding the sources of some engaging and obscure tunes which
have too long been denied the light of day and he has included some of his own
fine works too. I now regard the word "joak"
in a completely new light... If you like tunes you'll love this!
Dan
James
Dave Swarbrick's fiddle playing on Si Tu Doi Partir on Fairport's 'Unhalfbricking'
LP first got me into what became folk rock in 1969. Much has happened to both
of us in the 41 years, but despite it all, his violin techniques are still
musical fireworks. There can't be many out there who aren't aware of Swarb, given the longevity of his career. On this album,
there are five sets and six individual pieces, all traditional arrangements bar
one (a delightful composition to his partner Jill). The collection displays the
broad range of Swarb's virtuosity. He is mainly
accompanied by Kevin Dempsey on guitar, but many feature old Fairport
collaborators, and more recent associates (Jason Wilson Band). There are quite
a few early 18th century rarities on the album, to my delight, and the last two
sets of these (Tracks 8 & 9) are my favourites, both featuring Jude Rees on
woodwinds. Those who do not have my tastes in folk music should find other
styles to suite their tastes - as long as you like violin music. While he
indicates that he took 8 years to complete this album, I find no evidence in
his performance of decline in his distinctive wit and verve!
Andy
Stevens