Wheel and Dive - CD from Cambridge and Walker

 

Review by Val Haines

Wheel DiveHow lovely to have a new CD plop onto the doormat during lockdown. Jenna and David recorded this last year but kept it back as their expectations of performing it live in 2020 were thwarted. Now seems the right time for release as the promise of venues reopening is on the cards and organisers become eager to start rebooking. Hopefully soon the duo will be able to show Wheel and Dive off to the world.

David Cambridge is well known in East Anglian acoustic circles as a singer/guitarist/songwriter and teaming up with Jenna Walker has given this sound a new dimension. Her voice is reminiscent of the Unthanks and, whether solo or in harmony with David, it cuts through as an additional instrument. Jenna adds piano, accordion and sansula, Hattie McCall Davies adds cello and there is an assortment of percussion.

CambridgeWalkerThere are a couple of new songs: Jenna’s title track Wheel and Dive which uses piano, and the song of a Devon skylark from 1966, is an eco-song for our times, and David’s Sea Change which is a homage to the East Coast fishing industry in decline. The duo have successfully recreated several cotemporary  classics: Richard Thompson’s Waltzing for Dreamers, Joni Mitchell’s Case of you and John Martyn’s Hurt in Your Heart, all given the distinct Jenna and David treatment. Tom Waits’ The Briar and the Rose is sung a capella; they are right to call it ‘traditional sounding but non-traditional’. It work

 

The remaining tracks are well-known reworked traditional songs; Two MagiciansReynardine (with the spooky sansula – nice), Come All Ye Fair, a version of Let No Man Steal Your Thyme, and the Unfortunate Tailor, for which Jenna has composed a new melody. Also included are smatterings of Walter Scott, Robbie Burns and a children’s rhyme. 

There is lots to like here: great musicianship and singing and a variety of material moulded the Cambridge and Walker style.


Wheel & Dive


Sea Change

You can find out more about Cambridge and Walker here: www.cambridgeandwalker.com

Herding Cats - CD from Wolfnote

Review by Les Ray

WolfNoteHerdingCats 2“Herding Cats” is the debut album by Berkshire-based quintet Wolfnote. The band comprises four women (Gill McCoy, Bex Rennie, Ceri Rushent and Ann-Marie Thomas) and one man, Mike Tuffery, the elder statesman of the band, so to speak. They are highly versatile, as they all sing, all play a stringed instrument of some sort, they have two recorder players (Bex and Ceri) and two percussionists (Mike and Ann-Marie).

The intriguing title of the CD refers to what the band describe as “the horrendous task of trying to get five people together in one place to rehearse (or in fact do anything) outside their day jobs...”. And I don’t suppose that’s getting any easier now, since the CD was recorded before the first lockdown.

However, if getting together was as hard as herding cats, working together would seem to have been a much smoother experience, as this is a highly accomplished and eclectic first album, with great songwriting, singing and musicianship. All of the band members contribute their songwriting skills to the album, and this gives each song a distinct flavour, yet the band still very much have their own overall sound.

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REVIEW Folk Recorder by Val Woollard and Friends

Review by Dawn Wakefield


REC COVHere is a real cornucopia of catchy cheerful ceilidh band tunes led by the very versatile Val on a variety of different recorders  –  ranging from the energising fast fingerwork on garklein, sopranino and descant on several tracks, to the mellower tones of treble, tenor and great bass on others.

I have always particularly loved the few bands that feature recorder players prominently and the Hosepipe Band is a recommended example. At an actual live ceilidh or on their existing CD recordings, recorder solo tunes are scattered in amongst those led by other instruments, however here we have a collection of ‘the best bits’ for recorder, selected from recordings made over many years (1986 – 2017) in their current band as well as previous groups.

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Reckless River - New full-length album by Zoë Wren

Review by Simon Haines

Reckless River album cover digital copyIf you were in the audience at the Canopy Theatre in Beccles on October 31, you will have seen two first-rate performers: Finn Collinson and Zoe Wren. Since that evening Zoe has released her long-awaited 10-track album. I have been l lucky enough to receive an advance copy of this excellent album. Here is my longer-than-usual review. First some information about Zoë herself.

Zoë Wren started her musical career as a busker and still works regularly on the London Underground. She also plays folk clubs, festivals and other venues as a solo performer, with Jasmine Watkiss in the duo Roswell, and in a trio,  The Honeybees. She helps organise singing workshops in prisons for the grassroots charity Sing Inside, and has raised money with her live-streaming performances for the C4WS Homeless Project

Zoë has recorded several EPs, but Reckless River is her first full-length recording and comprises nine of her own songs and the traditional Let No Man Steal Your Thyme. An odd mixture? Not at all. Zoe’s compositions have a lot in common with traditional songs: they have appealing melodies, tell personal stories and have catchy choruses and, without being overtly preachy or political, they also seem to present a consistent view of twenty-first century life, a view I’d characterise as refreshingly positive, empathetic and optimistic.

Read more: Reckless River - New full-length album by Zoë Wren

‘If Hawks were Doves’ - Red Velvet EP

Review Holly Johnston

Red VelvetOn listening to this 6-track Ep from the Cambridge-based band Red Velvet, I felt with each track that I was being taken back to another time of sepia colours and pork pie hats.  The CD begins with the title track If Hawks Were Doves where I could imagine myself sat in an old time, honky-tonk bar drinking in the atmosphere.  In some ways this song would fit well as the theme tune to a 70s comedy show, the words paint a story and the blues piano break in the middle fits perfectly.  

The second track is Imposter, which speaks of imposter syndrome and contains what Red Velvet describe as their first ever rap.  To me it was a bit more like spoken word, maybe because of the solid English accent that makes me think a bit of Dick Van Dyke in Mary Poppins and I say that with affection.  There’s some nice alliteration in the lyrics: ‘luckiest loser’ and the track showcases some really fluent piano flourishes.

Read more: ‘If Hawks were Doves’ - Red Velvet EP

The Silburys – Live at Spring Fest

Review by Holly D Johnston


SilburysThe Silburys
 are a full-band extension of Silbury Hill, the well-known guitar, mandolin, flute duo playing regularly around East Anglia.  Here, Scott Dolling and David Stainer are joined by Diz Deacon on bass / 12-string, and Martin Linford on drums.  When this live album arrived on my doorstep for review, I was delighted to realise I had been at the event when this was recorded and am one of the lucky listeners who can reminisce from my armchair.

The first thing to say is that this is indeed a live recording.  How often do you buy a CD at a gig only discover a recording baring no resemblance to what you heard on the night?  This CD packs all of the energy and enthusiasm you see, feel and hear at a Silbury gig. As they state on the press release – ‘no overdubs’; just pure bottled - or canned! -  Silburys.  This CD is live, complete with breath sounds (in ‘House of the King’ for example), enthusiastic applause and the flow and ebb of real music.

The Silburys repeatedly deliver homebred storytelling with tales from our own East Anglian soil.  This eight track album includes a song about ‘Thomas Wolsey’, ‘The Dunwich Bells’ about the town lost to sea, and ‘London’ a ship discovered sunk off the Essex coastline .  But what’s folk without a dose of innuendo? The ‘Bonny Black Hare’ is a bass led, throbbing interpretation of a traditional song that tips no hat to socks and sandals and will have your toes tapping, hips moving and body marching you will-lessly out onto the dance floor.

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Foundlings - Hushwing

review by Simon Haines

Screenshot 2020 06 26 at 12.41.54On first listening to this recording made by East Anglian musicians, it took me back to music I’d first heard and been thrilled by in the mid-1970s: The Old Swan Band’s first recording: No Reels. Until that point I’d been a folk rock fan obsessed by the music of the Albion Dance Band, specifically the sophisticated drum and bass dominated The Prospect Before Us. That is still one of my favourite albums, but the appearance of No Reels sent me to music from older Topic label recordings: English Country Music (1965) and Country Music from East Anglia (1973). I felt that this was music that would have been played by the people of my grandparents’ and great-grandparents’ generation and I identified with it.

No surprise then that Foundlings (Norfolk Found Dance Tunes), a 21-track CD by Hushwing Village Big Band, brought back happy musical memories and at the same time introduced me to unfamiliar tunes. Although many of the tunes would have been played all over the country, Hushwing have chosen tunes originally played and recorded by Norfolk musicians Walter Bulwer, Harry Cox, Sam Larner, Billy Cooper, Stephen Poll, Herbert Smith, George Watson, Walter Pardon. A number tunes are attributed to “Gressenhall” and are taken from a suite written by Francis Cunningham Woods, a London musician who visited the Norfolk village of Gressenhall and reworked tunes he’d heard being played on the accordion (melodeon?) by an unnamed local millworker.

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