New Music 2015 - Part 67 - Phillip Henry and Hannah Martin - Watershed

Nothing gives me more pleasure than writing about this. It is a couple of years since I was introduced to this duo by Ian Lyster via North Dorset Folk Festival and Marnhull Acoustic Sessions. I have seen the duo live at least five times now and it can never be once too many.

It is not really so long since Mynd was released (2013).  This is about the new studio album but in the meantime they have released the CD Live At Calstock (2014).

Watershed is released on 25 September by Dragonfly Roots.

Less concerned with historical themes than their earlier work it is indeed a watershed. To assert otherwise would be wrong I think; the track titles alone give lie to that:

• Watershed
• Stones
• Tonight
• Yarrow Mill
• Conkers
• December
• January
• Letter (Unsent)
• Foundling
• Lament
• London
• Taxis

More immediate and intimate it is certainly is, but no less stunning. This is just a sample of it and, amazingly, adding video from FB wasn't quite the total pain that I thought it would be.
Should you want it ASAP then Proper Music have it on a limited pre-order deal for £10.99 and that includes UK delivery and the CD is signed!

How humans attempt to label and list music (and enjoy arguing about it)...

This became a topic, off-line, yesterday evening.
How are 'folk', 'roots' 'bluegrass' and others actually defined? Indeed are there any clear boundaries at all, when it comes to what may, or may not be included? This is a topic that I just know could run forever.
It came back to mind just now as I am thinking about, and  listening to, the 2014 recorded music I have acquired. Here's a picture of the first tranche (and yes, that is an Island 'pink label' on a 2014 vinyl release)...

It has also made me consider that which I wish to listen to or more problematically regret having missed live, which is a matter of self-questioning.
Above all this, however, it throws up a wider metaphysical question. Why do we tend to favour the process of 'classification' and why is such comfort gained by associating the very diversity (which we also tend to like) of things with a rather small number of 'boxes' in which we aim to 'put' them?
Digital devices are all very good for making and storing lists, assuming we are organised enough to store the stuff on them. Digital devices don't argue about the lists we chose to inflict on them and as an example I can find no reliable report of a digital device that has unilaterally declared that it can't abide U2.
Amazon's algorithm is quite good at suggesting things that I might like but not because it knows me and how I think. It simply knows about other people and what they have purchased or browsed and therefore, indirectly, how they think. What digital networks are not yet any good at is what humans are innately good at. That is spotting apparently curious connections or comparisons that are not within any logically associated domain but which very often our fellow humans can relate to. We humans do so endlessly, much to our mutual delight and annoyance.

This is where we get to the arguing part of it. Folk/roots music does not work by rules - it evolves and it does so unpredictably. That is important because if that were not so then it would be a dinosaur. There would be nothing new, original and incisive about it.
When Bob Dylan was pilloried for going electric others such as Fairport Convention took the idea and ran with it. It was ever thus. One other important point is that until quite recently folk/roots music was seen at best to be a minor genre managing decline as best it could.
In a few years, and due to changing technology as much as changing taste, that concept has altered quite remarkably. It is now possible to record and release music without the expenditure, in equipment, facilities or even travel and other sundries such as it recently was. It is true that many fine labels - Topic Records and Fellside Recordings being just two that spring to mind - had continued to release such music and while it is most certainly still not easy to make even a modest living from it, the balance of power has shifted and also in another very important way - the traffic in folk/roots/Americana has also become fully fledged two-way traffic as the often perceived insularity has broken down.

There are some instruments that have evolved to belong, even though until quite recently they did not. Bouzouki is an instrument from Asia Minor. By the early 20th century it had migrated and evolved and was found in music of the Balkans, Bulgaria, Romania and Greece. One of the first, and the best known to introduce it to Celtic folk music was Dónal Lunny of Planxty. The band spent time behind the Iron Curtain in the early 1970s and this is reflected in several tracks on the 1974 album 'Cold Blow and The Rainy Night', to which I am listening as I write. Also on the album are several other songs that do not come directly from the UK or Irish folk canon - The Lakes of Pontchartrain and The Green Fields of Canada being two of them.
There are several others that are not native to UK folk but I'd find to argue that they are no longer assimilated, to all intents and purposes.
Phillip Henry and Hannah Martin are at the top of their game, winning best duo at the BBC Folk Awards 2014, and they headline North Dorset Folk Festival this coming Saturday. They extensively play two instruments that do not feature in the traditional folk canon. Hannah, as well as playing awesome fiddle, is a mean banjo player. Quite when it arrived in UK folk I don't know but it is an essential of bluegrass and also Appalachian 'old time' music, especially when played clawhammer (that is with the back of the fingernails rather than traditionally plucked) in the latter case. Phillip is an amazing resonator guitar player and this instrument although probably of Hawaiian origin entered popular music in the early 1920s via Jazz as it was loud enough to compete (unamplified) with the brass section. Often simply known as dobro this is a brand - it is exactly like calling all generic vacuum cleaners hoovers. Any which way the instrument quickly became a feature of both blues and bluegrass too, as they spread north up the Mississippi. Another Hawaiian instrument to gain traction, because of its general versatility is the ukulele. In all cases these instruments were readily adopted because they were very usable within the existing structure but also bought with them new possibilities. Not everyone welcomed these developments, that much is certain, but this is what a living tradition needs to do to flourish. The fast changing USA absorbed and developed all these influences, including those that came from Africa, whether via the Carribean, south and central America or simply directly and new dimensions took shape.
Inevitably the result was exported once again. There would have been no British blues, in the mould of Free and early Peter Green's Fleetwood Mac, had that not happened. An interesting corollary to this is 'Black Magic Woman' - the Carlos Santana version (1970) is so well known that it is often forgotten that it is a cover of a 1968 Peter Green original (but only a single and then only released in the UK). It appeared on the Santana album 'Abraxas' by which time it had acquired new parts influenced by traditional eastern European Roma music and also Latin american rhythm. Plenty of the eastern European tradition had also made its way west across the Atlantic and that is evident in much bluegrass and Appalachian fiddle music.

So where does this find us? In a whirlpool that none of us had imagined, I rather think!
I shall continue in a new post if only because Blogger tells me that I can't add any more 'labels' to this one!
What is more, come this weekend I will also have a whole lot of live music to write about and, if I have my way, plenty of photos to go with that. I can't wait.

Carrivick Sisters - Live @ The Lights, Andover

Yesterday evening I thought it might be time to start October as I mean to go on, with live music. I have been intending to see a full set from Bath-based Carrivick Sisters for far too long and The Lights, a small council run arts venue in Andover, is barely an hour down the road. With its adjacent free parking and easy access from home it is less trouble than attending an event in Bath and, even more so, Bristol.
Yesterday the sisters; Charlotte (guitar, banjo and mandolin) and Laura (fiddle, dobro and guitar) were joined by John Breeze on bass.  They started the set without John singing 'You'll Miss Her When You're Gone' a capella.

The balance of their extensive set, which in the absence of a support act was divided in to two parts, featured songs from their most recent LP 'Over The Edge' 2013 with a couple of traditional songs (most LP songs are self-penned) and a couple from 2011 LP 'From The Fields' including sing-a-long encore 'Today Is A Good Day'.

The sisters sing harmony vocals as well as share lead vocal duties.

They finished the set with a tune, 'Pig In The Middle'.

Marnhull Acoustic Session - Phillip Henry and Hannah Martin

This is an important update on my previous post concerning Marnhull Acoustic Sessions and the event this coming Sunday (23 February). Ninebarrow are still supporting and Phillip Henry and Hannah Martin are still headlining but the big change is that the latter have just been awarded the 2014 BBC Radio 2 Folk Award for 'Best Duo'. That was in The Royal Albert Hall this evening but, if you are quick, you could see them play live in Marnhull Village Hall (capacity ~100) this coming Sunday evening. Litotes is self-defining.
Tickets, while they last, are £6 + £0.60 booking fee on-line and delivered by e-mail. I wouldn't bet on getting one on the door (£7). See you there!
Phillip Henry and Hannah Martin the first time that I saw them live...

Acoustic+, Frome, Cheese and Grain, 25 March 2011.
This an older song, Queen Gwendolen, but none the worse for that.

Phillip on dobro and Hannah on fiddle and vocals here.

Murderous, Modern and Urban?

Much has been written, and much more doubtless will be, about the corrasion (rather than mere corrosion) of some modern 'urban' music and in particular that it dwells heavily on themes of injustice, death, violence, and murder.

That is true but equally it is nothing new - the folk canon is replete with such themes in all forms --- from the night songs (of lovers lost) to the murder ballads in which the boot is on the other foot.  The stories are often old, the telling of them not always so much so:
  
Charlotte Dymond
In early April
1844
I heard you talking
By the barn door
You agreed to go with him
To a church upon the moor
You planned to leave me
You'd be mine no more
  
Two years I loved you
Two years you were mine
I swore I'd love you
Until the end of time
But now you've found a new love
You crossed the line
Oh what have I done
I'll hang for my crime
  
You went walking up on Bodmin
An early start that day
Never said where you were going
But I could walk with you some of the way
Well you never reached that chapel
You never got away
For by the stream I killed you
And there I hoped you'd stay
  
On my return I told the others
New work you had found
They did not believe me
And with your absence I was bound
Oh, curse you Charlotte Dymond
Where you lay on the ground
For along with my boot prints
Your body was found
  
I tried to hide it
Tried to save my own skin
But the Mistress turned against me
With all her kith and kin
I know that I must suffer
For this dreadful sin
Now the gallows await me
Hell's gate says welcome in.
  
Lyric: Charlotte Carrivick (2011), based on traditional sources including the twenty-three four-line verses of Charles Causley's 'The Ballad of Charlotte Dymond'.  Fiddle and backing vocals: Laura Carrivick.
Matthew Weekes was convicted of the murder of Charlotte Dymond and was sentenced to death by hanging. This took place in Plymouth.

Acoustic+ 25 March - Phillip Henry & Hannah Martin

This was the next problem that led to the travails of The Off Chance, as mentioned in the post below.
When you pay £5 ($8) for a ticket to see four acts live you really have no right to expect one of them to be as good as Barbara J. Hunt and Dizzi Dulcimer. When as a very new band just starting out, as is the case with The Off Chance and the first album just a mirage on the horizon, you end up playing immediately after the former and just before Exeter-based duo Phillip Henry and Hannah Martin it is going to be tough; very tough indeed and this flyer, which was everywhere in the Cheese & Grain, says a great deal about the kind of pressure they were up against:

In my humble opinion they were truly worthy of the recommendation.
    

The term roots music is very wisely used here for Phillip often plays a resonator guitar, in the case below one with an electric pick-up, the concept of which only dates back to 1927.

  

They were originally designed to be a louder version of acoustic, which became lost in big-band music, but soon found a place of their own for their unique sound. There are various modifications of the thin spun-metal cone that acts as the primary resonator (in the version above that is amplified by the electric pick-up in the same way as with an electro-acoustic) and are sometimes all known generically as 'dobros'; this is now a registered trademark of Gibson Guitars but there are many manufacturers of  such instruments.

They are often found in both bluegrass and Hawaiian guitar music. In the former case they partner fiddle particularly well, which has a great deal to do with the music here.  Another very suitable partner instrument is this...
  

Hannah Martin playing 4-string banjo.
  

Or even 4-string banjo accompanied by a standard acoustic guitar.