When I last wrote of Sam Lee here, I used words I thought I would use again in this review of his latest release – ‘baritone’; ‘sonorous’ – so I just have, and obviously to describe his wonderful folk vocal. In his previous Ground of its Own, Lee married this with traditional folk songs and modern musical affectations, usually electronic, and some dissonance in the production to offset and make ‘new’ the beauty of folk singing and melody.
This is exactly the multi-layering on this set of songs Lee
has researched and found within the gypsy and traveling communities in the UK
as well as others from much farther afield geographically and culturally. I
think there is far less of that dissonance on this album, though the modern
patternings are more intense, as on superb opener Jonny O the Brine where the tabla and jazz trumpet are powerful
over-rides. Second Bonny Bunch of Roses
begins with a scratched operatic recording before the perfect low tone of Lee’s
vocal brings in the beautiful song, finger-plucked acoustic guitar in the
background, flute rising from the distance as the layers build which will
include fiddle and a re-emergence of that operatic recording: it is a jamboree
of eclectic sounds.
Third Blackbird is
simply gorgeous as a song and vocal. It is again enhanced, this time by
crashing cymbals, piano strikes and banjo plucks and horn accompaniments, also
building. I guess the ‘traditional folk’ purists would argue that the core song
gets lost in this musical modernity; those of us who like the amalgam of such
production exploration with folk melody accept the combining. The ‘true’
purists are, presumably, those from whom Lee has learnt these actual songs, and
one also presumes they accept the re-workings. As a folk archaeologist, Lee is
discovering these songs from a source that might not manage to secure them
through the oral tradition as well as he can in this recorded permanence. As if
to remind of the discovering, fourth Lord
Gregory begins with a sample of recorded interview as Lee finds out about
this song – a song wrapped in gorgeous brass and vocal support as it
progresses.
One of the more energetic renditions on the album is ninth Willy O where tabla again drives the
beat, cymbals crash once more, whistles and Jews harp plant authenticities, fiddles
create filmscore-like tensions, and other orchestrations swell. This is
followed by Airdog where just voice
and piano begin slowly to set a contrasting tempo, though the melody and voice
beautiful again, and when the build comes, it is like so much else on this album –
gorgeous - as I have already stated and will do once more as I think this
single word genuinely articulates the beautiful whole, and yet again when this
is followed by the [g-word here] Lovely Molly
with Lee and choir coalescing in pure folk beauty.
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