The The Lone Pine Pickers, Spiegletent, St Andrew Sq, Edinburgh Jazz and Blues Festival

Country music, western swing and gypsy jazz suggest an international flavour, but this is very much a home grown Scottish line up, featuring several weel kent faces from the national jazz scene. The leader, on guitar and vocals, is Ross Milligan, back up by youngster Connor Smith on guitar and pedal steel, Roy Percy on bass, and Ewan Laing on drums. Together they form a tight outfit with a passion for their music and the talent to bring it to life.

The set was largely instrumental, with many jazz standards, mostly from the 50s and 60s, given their own flavouring. Plus one self penned number that wasn't in the least out of place. Milligan does a decent job with the vocals, keeps it simple, and lets the music do the work. But he is also a good link man, humourous and informative about the history of the numbers.

As usual everyone gets to do their solos. Percy's bass lines are solid, but his solos lacked inspiration. Laing does a better job of making his starring spots entertaining. Milligan is an accomplished jazz guitarist, a man totally at ease with the genre and delivering what's needed to a high standard. But it's Smith who steals the show. Milligan may be as good technically, but the younger man's imagination shines, and his solos constantly surprise and delight, heading off in unexpected directions.

Acts like this are the meat and 2 veg that keep the festival grounded, and the LPP deliver excellent entertainment.

Police Dog Hogan, Voodoo Rooms

A two part post this time.  A brief review, for there is not much to say on that front, and a rant.  A rant/plea to venues & promoters & bands and anyone interesting in promoting equality.

Two support acts, then the main turn.  Neither support was memorable.  A pub-level band wioth a not-so-good vocalist, who continually tried to play on past associations to Shane McGowan.  And a guitarist singer/songwriter, accompanied by PDH's pianist, with a good voice, some wit in his introductions, and forgetable songs.  

PDH were, of course, a big step up in quality, and fun.  The line up was the same as when we saw them last year, the performance just as strong.  You can read that review here.

Part 2 is less about the music, more aboiut the set up and organisation.  'Standing only' is something we have to avoid, both of us having health issues that would prevent us from staying upright for that kind of time without considerable discomfort.  Promoters need to make it much clearer where this is the case, both on their advertising and the tickets themselves.  When we found out I complained to the organiser.  he did, eventually, provide a couple of chairs (from which we could see next to nothing), but with such bad grace it felt like he was trying to make out it was our fault.  We might not be going to the Voodoo Rooms in the future...

Alice Howe and Freebo, Traverse, TradFest

 

The equal billing reflected the content of the show.  While Howe did the most songs, it was as much the Freebo show, with a lot of his own material too.  Their own songs, with the exception of Alice's perfect rendition of Jonie Mitchell's A Case of You.  Good songs too, mostly with a country music inflection, but other influences present.  Personal songs, with a story behind them, which both related with great humour.  And in Freebo's case, a couple of funny songs which had the audience laughing.  Howeve plyed guitar, mostly as accompaniment, but plays well.  Freebo is the more virtuosotic of the pair, playing both guitar and electric bass.  It's first time I've seen someone play lead guitar parts on a 5 string bass, and it was a pleasure to be induced to the sensation.

So both were entertaining, more than competent musicians and singers (Howe has a wonderfully clear and pure voice, with excellent phrasing), and provided us with a memorable hour.  And she can say 'Edinburgh' pretty good for an American!

Police Dog Hogan, Glasshouse, Gateshead

 It had been well over a decade since we first saw PDH.  There had been tickets bought since, but going unsiued due to force majeure (heavy snow in one case, covid in another).  So this was eagerly anticipated, and I wonderted what changes there would have been.  

A different line up for a start, with only three of the original group still there, and acting as the front men of the band.  James Studholme (guitar and lead vocals), Tim Dowling (banjo, electric guitar, backing vocals and occasional lead vocalist) and Eddie Bishop (fiddle and mandolin, and backing vocals) have been there since the beginning, and have developed over the years into slick entertainers, as well as much improved in the musicianship.  They have been joined by Shahen Galichian on keyboards and accordion, Don Bowen on bass guitar and Alistair Hamer on drums, with all of this trio also adding to the vocals.

I recalled, from that long ago gig, that PDH were competent musicians, who played within their limits, wrote excellent songs with memorable lyrics, and were good entertainers.  Much of that description still applies.  But they are even more entertaining, with some slick comedy built into the act.  The musical abilites have improved with time, so that their limits are higher than before.  Galichian adds another level, as the standout talent of the line up.  And the songs lyrics remain of a high standard.  Fummy, sad, ruminative, with clever structures and rhymes.  The melodies are decent too.

The style is derive from country, bluegrass and folk, with a West Country twist here and there.  A very Englsih form of Ameicana.  Studholme sings well.  Not the greatest voice technically, but distinctive, characterful, with imaginative phrasing.  Dowling impressed with his songs too.  

There was a good mix of the familiar, including the nearest they've had to 'hits' (Shitty White Wine and West Country Boy), and newer material.  Regular changes in tempo and sentiment and themes kept it all feeling fresh.  From the whimsical, like returning to Devon on the A303, to the melancholy, with reflections of the death of fathers.

I hope it isn't another decade before I see them again.

Cahalen Morrison, Traverse

 Two solo Americans for this show, both Scottish domiciled.

Frist up was Edinburgh resident, and Arizona native, Cera Impala. Accompanying herself on guitar and ukulele she sang her own compositions about the troubles of life and the world. Her soft breathy voice is very pleasant, but made the announcements, and lyrics, hard to grasp at times. Add in the slowish tempo of all the numbers and, for all their worthiness, this got a bit boring. Some out of tune guitar work didn't help. Disappointing, as I know she can be better.

Cahalen Morrison, all the way from New Mexico, but now living in 'that place' (!) at the other side of the M8, was a clear step up in quality musically. An excellent player of guitar, banjo and fiddle. The former pair used as song accompaniment, and ornamentation, the latter to deliver a couple of tunes, and he also did some a capella singing.

His voice is haunting, with excellent variation in pitch and tone, and the songs were varied in subject and melody. But the pace was, for the most part, as slow as the first half of the gig, and I wasn't sorry when it all came to an end.

I should add that my rather negative views may have been influenced by a heavy cold and lack of sleep, which made it hard to feel positive or engaged!

Transatlantic Sessions, Usher Hall

 A joyous and sophisticated melange of an evening. With a total of sixteen talented musicians and singers on stage (I won't name them all...) and backgrounds in Scottish and Irish traditional music, and American Country and Bluegrass, how could it not be?

Of course there is some trepidation in going to a show which comes out of TV origins, but the overall format with some tweaking, transfers well. Helped out by plenty of laughs in the introductions and band interactions. Phil Cunningham is never one to be short of a funny story.

Fronted by American dobro maestro, Jerry Douglas, with fellow TA-founder Aly Bain from Shetland, the band played tune sets that mixed up the various styles of playing, with changes in tempo and mood. The singers all had a set in each half - Joshua Burnside from Ireland, Gaelic songstress Kim Carnie from Scotland, and country singers Lindsay Lou and Carlene Carter from the US. With Carter, daughter of legend June, showing her star quality and charisma (and channelling a bit of Johnny Cash, her stepfather). There was also a song from the band's guitarist John Doyle. And, an undoubted highlight, a solo from Appalachian bass player Daniel Kimbro. His chosen subject Michael Collins, the Apollo 11 crew member who didn't get to walk on the moon. Or, as Kimbro put it, the bassist of the astronauts.

But the biggest spontaneous cheer of the night went to Burnside for his lyric - "March up the Shanklill, March up the Falls, Doesn't matter where you're from, The tories fucked us all". Folkies are mostly decent people!

The encore was for the core band only, a set of tunes that once again demonstrated how that mix of styles and cultures can add delight and surprise to even the most familiar of tunes. Long may they continue to bring such imagination and joy to people.

The Foghorn Stringband, Traverse, TradFest

 Long time specialists in country, bluegrass and cajun music, the Foghorners have changed line ups several times over the years, and are now a four piece consisting of original members Caleb Kauder (mandolin, fiddle) and Sammy Lind (fiddle, banjo), plus relative newcomers Reeb Willms (guitar) and Nadine Landry (double bass). All four contribute lead and harmony vocals, in an ever shifting mix of voices.

Although the bass is miked up, and there are a couple of low level mikes to pick up guitar, banjo and mandolin, the bulk of the sound is fed through one central mike, meaning the line up of faces changes constantly, and some complex choreography is required. It's all part of a performance that constantly emphasises their links to old time music. (Although it does mean that, by modern standards, the mix coming through is very variable!)

The songs and tunes are mostly from various traditions within the US, plus a couple of more recently penned numbers. Musicianship is first class, the vocals acceptable. None of the singers stand out as a great solo voice, and often sound better in harmony. One of the highlights was an a cappella rendering from the two women. While there a few slow pieces, much of the set is fast, often furiously so, with foot tapping rhythms and repetitive lyrics, the latter lending themselves to a bit of audience participation at times. The foursome all take turns at introductions between numbers, with frequent interjections for the others. They can be amusing, but there's not all that much information about the origins of the material, and, given the historic nature of the music, this could have been expanded.

It was an entertaining, sometimes exciting and rousing evening. Yet also curiously flat. As if something was missing...

Della Mae, Teilhard Frost, Glasgow Royal Concert Hall, Celtic Connections

Canadian Frost is better known to Scottish audiences as one third of Sheesham & Lotus & Son, but his solo performance contains the same primary elements.  A passionate devotion to recreating the sounds of old-time American music, recounting the history of the tunes he's playing. and a lot of humour - even when playing.  Fiddle, harmonica, percussion, kazoo, a strong tenor voice combine to bring to life ragtimes, blues, jazz and folk in an eclectic package.  Unexpected twists, funny lyrics and Frost's own brand of showmanship kept the audience engrossed, and he received strong acclaim for an excellent set.

Della Mae are a five piece, all-female, Nashville-based band with bluegrass roots but a wide range of influences.  Guitars, fiddle, mandolin, washboard and double bass.  While both bassist and mandolin player take a turn at singing songs, most of the lead vocals fall to the good-time voice of Celia Woodsmith who gets more Joplinesque the rockier the numbers become.  The songs are mostly self penned, and the lyrics interesting, catchy.  While there are a few slower numbers for the most part the tempo is rocking, the beat foot tapping, and the solos from fiddle, mandolin and guitar sparkling.  Decent bass solo too.  They're engaging personalities, there's a lot of smiles and joy in their playing, and that transmits well to the rest of the room.  Great stuff and a lot of fun.

Robert Vincent, Voodoo Rooms

Local singer/songwriter Roseanne Reid opened.  A decent guitarist and a distinctive voice with an interesting catch to it.  Her songs have country influences, feel personal, from the heart, and genuinely emotional.  She's got a nice line in self deprecation too.  Worth looking out for.

Scouser Vincent was backed by Iain Sloan on guitar and pedal steel, Danny Williams on double bass, and the rapport in the trio was clear to see.  Liverpool Americana sums up his style well, with a very Merseyside earthiness to his lyrics and a pop and rock sensibility underlying the arrangements (and, as he freely admits, a good line in misery).  The voice has an offbeat quality that makes him immediately recognisable and he is one of the best songwriters around the UK country/Americana scene.  He's amusing too, with a fund of stories and a way with an anecdote.  If the musicianship isn't out of the top drawer the performance is, and Vincent is a great live act.

The Tillers, Traverse

Beards and baseball caps, T-shirts and jeans, this quartet is real-deal Americana from Cincinnati, Ohio.  Two lead vocalists, one on guitar, the other swapping around between banjo, guitar, fiddle and kazoo, plus a fiddler who adds backing vocals, and a solid silent figure on double bass.

The songs are mostly their own, based around their own experiences or stories that inspired them, so there's everything from a tale of a teenage dishwasher to a tragic civil war love story, a bit of Woody Guthrie and a beautiful Cincinnati blues from the 20s.  Musically they are more about fun than flash.  Neither of the leads could be thought of as great singers, yet they fit the music perfectly and have plenty of character, and the overall sound is about the interplay of the instruments without need for fancy solos.  The set is largely uptempo, foot tapping and hand clapping and a fair bit of singalong.  They talk a lot between numbers, a fund of stories about the origins of their material and their experiences on tour being related with relish and a lot of laughs.

The Tillers are a good, honest country and bluegrass band who provide some memorable tunes and a great live experience.  Go see them next time they are back over here.

Cera Impala and the New Prohibition Band, Pianodrome at The Pitt

It's been almost two and a half years since I last had the privilege of seeing this outfit, and, musically at least, I have little to add to the review I wrote then.  Still as enjoyable musically and as entertainers, the novelty lay more in the setting.  The Pianodrome is an indoor amphitheatre built from old pianos, on which the audience sit and surround the performers. Acoustically it's not all that great, but it's an atmospheric place, albeit not a very comfortable one - cushions were provided and are much needed, at least by those of my generation.  But it's somewhere you should try to experience if you enjoy seeing something different, and it's in use every day of the Fringe.  Worth making the trek out to Leith for.

The Felsons, Traverse

Back in the nineties and early naughties they were a weel kent country rock outfit in Scotland, but now The Felsons were back together and playing live for the first time in fifteen years.  And doing so in their home town, meaning tickets being sold out some weeks in advance, to a packed and noisily enthusiastic audience.

All four members have gone on to further careers in music, but it was clear from the start that being back together after so long was a joy to them all (even if they were under rehearsed!).  An acapella version of the Beatles' Nowhere Man provided a stunning opening before they launched into their own material.  Interspersed with songs from the old days were some newer numbers.  Band leader and singer/songwriter Dean Owens had written some new numbers for the occasion, and they also played a few of the tracks from his own solo albums.  Although the old Felsons tunes still hold up well, it was a clear demonstration of who much Owens has progressed as a writer in the years since.

With Owens distinctive vocals, some tasty lead guitar work from Calais Brown and solid rhythm from bassist Kevin McGuire and drummer Dave Stewart they have a distinctive sound, but covering genres, part pop, part country, part rock, with clear Scots influences in there too.  Owens is always amusing in his ramblings and provided plenty of laughs between numbers.

The second set increased the energy in the room, produced a bit of audience singalong, a revival of the single from Smile, the band that begat The Felsons, and a fun rendition of Presley's Hound Dog.  Band and crowd could have gone all night, but there are limits to the time, and so we went off into the night invigorated and smiling.

The Hot Seats, Marwick Spiegeltent, Fringe by the Sea

A Virginian country band providing great musicianship, decent vocals and a lot of fun.  Banjos, fiddle, mandolin, guitar, drums, washboard and a double bass that all 5 band members had a go on at some point or other.  Old early 20th century songs and tunes, from the country, bluegrass and ragtime traditions, self penned songs in the same idiom.

They're fronted by Josh Bearman whose singing might not be note perfect, might not have the greatest of ranges, but does have an authentic country tone and and real feel for the genre.  Ed Brogan also sings lead, a stronger voice technically, but lacking Bearman's plaintive sound.  There's far less to criticise in the music.  5 excellent musicians, strong arrangements with their own signature, plenty of virtuosity demonstrated in the solos.  An exciting bit of ragtime, a cover of a song by the great Jim Croce (why don't more people cover his material?), an anti-Trump number, slow songs and fast tunes, a real mixture and a well balanced set.  Add in a few laughs, a bit of banter between band members, and some informative introductions and you have a truly enjoyable gig that gets the feet tapping and the audience leaving with a smile on their faces.

Worth catching if they come your way.

Woody Pines, Tradfest, Traverse

A very different line up to the last time I saw Woody with a very different feel to it, despite the material being much the same.  The man himself on guitar and vocals, plus a double bassist and a reeds man on clarinet and sax.  Woody himself remains an excellent front man, an always engaging and engaged personality, enthusiasm and his very own singing style.  But somehow the line up never quite gelled as that one of a couple of years ago.  The songs are still enjoyable though, and his mix of old time and modern numbers shows a real feel for the music of the Woody Guthrie tradition.  Always worth a look.

Molsky's Mountain Drifters, Traverse

One of America's greatest fiddlers is back with a new trio and a fresh take on country and bluegrass music.  Alongside Bruce Molsky are banjo player Allison de Groot and guitarist Stash Wyslouch, both from a much younger generation but hugely talented.

The set has a mix of songs and tunes, old time music and some recent compositions.  Molsky has a decent enough voice, as has Wyslouch, neither being that memorable, but at their best singing together where the harmonies worked well.  De Groot only got the one lead vocal, but further contributions would have been welcome as her voice had a lot of character.

No such comments can be made about the musicianship and arrangements, which constantly highlighted the variations and virtuosity on offer.  Lots of variety in tempo, with plenty of fast stuff to get the feet tapping, and some audience participation.  They're an amusing bunch too, with plenty of laughs in the introductions and a clear sense of fun within the band.  No doubt there would have been a bit of dancing too, but there was no room on offer in a packed out Traverse bar.  Molsky has a big following and with good reason.  This trio simply confirms his status as one of the best musicians in America.

Front Country, Traverse

The name, and the acoustic line-up (double bass, guitars, mandolin, banjo, 5 string fiddle) suggest this would be an evening of country, bluegrass, maybe some wider Americana.  But they prove to be so much more than this.  There are certainly country influences in there, not least in the harmony vocals, but so too are jazz, soul, gospel, classical, folk, pop and more besides.  This is a band with the imagination to match their musicality and the results are often surprising.

They play a lot of their own songs, and some instrumentals, but also heavily reworked covers from an eclectic range of sources.  Where else would you hear a set that included songs from Woody Guthrie, the Carter Family, Eagles - and King Crimson?

Melody Walker provides most of the lead vocals, and her powerful voice is especially suited to the gospel numbers, but excels throughout, and she's a strong rhythm guitarist.  The instrumental flair comes from Adam Roszkiewicz on mandolin, Jacob Groopman's guitar, and a man who has become one of my new musical heroes, the remarkable fiddler Leif Karlstrom .  All three delivered some spectacular solos, but Kalstrom was consistently unpredictable and full of surprises in his playing.  Underlying all these fireworks up front is Jeremy Darrow, a solid bassist with a flair for more than just rhythm.

Songs dominated the set, but there was a brief interlude when mandolin and fiddle played an excellent duet, followed by those two plus Groopman and Darrow playing a soaring piece that was one of the highlights of the evening. (Sadly not recorded yet.)

It's good to see a band that's happy to 'magpie' from so many genres and bend that material into their own sound.  File Front Country under 'Great Music'.


Front Country are touring Scotland for the remainder of this week, and definitely worth a look if they are coming to a venue near you.

Wayward Jane, TradFest, Storytelling Centre

A young four piece Edinburgh band who describe their music as 'old time Americana a bit mashed up'.  Their source material is largely from the back catalogue of US folk music, with some self penned tunes and a bit of Hank Williams, filtered through their own influences and tastes to arrive at their own unique arrangements.  Fiddle, flute, banjo, guitars and double bass provide the music, with all four contributing to the vocals, and I've no complaints to make about their abilities.  All four show considerable talent and the primary lead singer has a wonderful voice.

As a live act, there's still something missing.  The first half set was pleasant enough, but lacked any real excitement.  It all felt a bit one-paced, some tunes went on longer than seemed ideal, and the introductions were laboured and lacked confidence.  The high spot came when they brought up an older musician to the stage to add a bit of Dobro to the sound.

And if I'd left during the interval that would have been my review.  But this turned out to be something of a Jekyll and Hyde evening.  There was an irony during the interval when over the speakers came Dallahan, the band I'd been to see the previous evening and noted purveyors of high energy performances.  Maybe some of that energy transferred itself to Wayward Jane....

The second half felt like it came from a different gig.  Some traditional tunes from this side of the Atlantic brought some life into the proceedings, followed by some singalongs and a better mix of tempos.  The intros remained shambolic, and needed an injection of personality, but suddenly the event moved beyond 'pleasant' and became genuinely enjoyable.  When they manage to spread that enjoyment across a whole gig they'll be a good band to watch.

Southern Tenant Folk Union, Traverse

One of this reviewer's favourite bands, and one I've already reported on four times in the last couple of years.  A small change to the line up, with a new man on double bass, but otherwise this was more of the (highly enjoyable) same.

With seven albums to fall back on, and several changes of style along the way, there's a good mix of songs throughout, with additional variety coming through sets of tunes from the exciting fiddling of Katherine Stewart.  Rory Butler's vocals seem to improve each time I hear him, and the song arrangements are tight, displaying a variety of influences.  But the highlight for me was Butler's guitar solo on the lovely ballad Let Me Wipe the Tears From Your Eyes

As ever the band ended the night coming out into the audience an leading them in a gospel number, a rousing encore to finish off the evening on a high.

Blueflint, Traverse

With the same line up as the last time I saw this band, and no new album releases since, there's little of substance I can add to add to my review from May last year.  (There are also two earlier reviews of Blueflint you can read, from April 2015 and August of the same year).

The fact that I was more than happy to see them again is a good indication of the quality of their performance and material.  Despite a rather quiet audience they provided a lively couple of sets, with Debs and Clare chatty between numbers and keen to engage with the punters in conversation during the break and after the show.  A couple of well chosen covers were mixed in with their own songs, and there are several gems among the latter.  There's a variety of influences at work, with a mix of country, folk and Americana, arranged around the dual banjo set up, and some catchy melodies to back up interesting lyrics.  They mentioned the tour where they supported The Proclaimers and This is the Story, the title track of their third album, could easily have fallen from the pens of the Reid brothers.

Blueflint always deliver an enjoyable way to pass an evening.  Definitely worth seeing if you get the chance (and aren't banjo-phobic!).

Southern Tenant Folk Union, Storytelling Centre

A band whose live performances I've reviewed three times in the past, and with the same line of personnel for tonight's as for those on 10 December 2015 and 12 May of this year, so there's not all that much new to say.  The fact that I've been to see them again indicates I'm something of an established fan, and this was another excellent performance.

There was plenty of new material though, from the recently released seventh album, Join Forces.  Once again much of the material is political, McGarvey happily wears his left of centre views on his sleeve, and the act is all the better for that honesty.  Tories will not always feel comfortable at a Southern Tenant gig.

The evening mixed up the old and new, with more recent material dominating the first set, the back catalogue more apparent in the second.  It's a reminder of how much the band's styles and personnel have changed over the decade in which they've been recording and performing.  The current five piece has survived for some time now, and is all the better for it.  It's proving to be one of the best yet, with Rory Butler's thin but  interesting voice providing his own fresh interpretations of older songs and setting the tone for those on the last two CDs.  Musically the style is more folk than country at the moment, with Katherine Stewart's fiddling at the forefront, but McGarveys plinking banjo always providing a reminder of their Americana roots, even on the superb, and very Scottish, sets of tunes that Stewart sparkled on.

Always enjoyable, especially in front of a home crowd, Southern Tenant continue to impress as a live act and wouldn't disappoint any fan of quality folk and acoustic music.