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Tudor Folk Club
Chesham, Bucks, England

Archive September to December 2001

10 September 2001 - the John Wright Band

tah dah! We're delighted to have John and the lads back for the third time. Simply the Best Songs, sensitively presented. Here's what I had to say about their last gig at Tudor:

"Okay - so I think I see what all the fuss is about! Simple honesty - good songs, unfussily and competently presented, with a gentle, approachable ambiance. No uneccessary pyrotechnics, but everything played to present the *songs* in their best light. Which is absolutely as it should be, of course. "The audience were treated to a preview when Stewart played accompanying fiddle on Kaye Tilley's and Clive Carey's floor spot during Kaye's song "I'll Bring You Roses". Very sensitive fills and underpinnings to this lovely song. "I'll run through the set for you: James Keeleghan's "River Run" - A much more gentle and light song and setting than I'd expected. Beautifully done, but not the "grab the attention" opener that I'd somehow expected. John Gorka's "What Are You Doing Here?" Now this is more like it. Some laughs, smiles... and 'balls'! A much more animated number - a rocker, even. Crowd's warming up, now. In fact, this sets the pattern for the night - alternating gentle numbers with rockers. Like Stewart's blue-grass inflected fiddle. David Wilcox's "Language of the Heart". Title track of the new CD. Verging on the saccharine... (controversial?) Mary Chapin Carpenter's "Naked to the Eye". Another rocker. Kenny and Stewart do "The Broom of Cowdendowes" (?) - a traditional Borders song. Surprisingly stately. I like it. Love Kenny's strong baritone Taylor guitar. (Nice voice, too!) Don't know the name or writer of this one - but it starts with an "All Along the Watchtower" type riff. Another powerful one. Nice harmony vocals and Stewart's "Hendrix" fiddle. Robin Laing's "Black Clothes". Finishes with an up-tempo jig version of the tune to round off the first set on a high. Set 2: Richard Schindell's "The Ballad of Mary Magdalene" - another gentle start to a set. Fishing - another Schindell song. This one's got attitude! Mavis Taylor and Mike Silver's "It's a Fragile Peace". I love this song, and they do it well. Good intro with harmonics on the guitar and wistful fiddle. Keiran Halpin's "All the Answers". Another rocker, with John on shaker. Absolutely joyous fiddle against a different kind of chord progression. Good song - and a cracking chorus. My favourite number of the night. Stewart does a solo fiddle set. All the audience stomp along. Lots of double stopping, and some of his classical training shows through in this gypsy/kletzmer inflected set of tunes. Goes down an absolute storm. He calls them "songs without words". David Wilcox's "Show the Way". Nice, but too soppy for my taste. Hold On - a throw away closer (imho). (the "encore") Mike Silver's "Time for Leaving". A good closer - especially at Tudor where we're all Silver fans. We can all belt it out along with the band. "...so there you have it. Yes, as I say - they do what they do very well. And I sat there thinking "That's what I should be doing. Now where can I find a fiddle/mandolin/voice to accompany my guitar/voice?" "And the audience were all buzzing. Many of whom had travelled a considerable distance to be there - the JWB army! "Looking forward to their next gig in the area..."

There's a long feature on them by Sandy Satyanadhan in Folk on Tap (Autumn issue, 2000). "...be sure to put one or (more!) of the dates into your diary. I sure am." says Sandy. Oh: they're on the cover, too.

Also from Folk on Tap (Spring issue, 2001) Sid Meats reviews their gig at Hambleton Village Hall on 1st December 2000:

"Hambledon Village Hall was packed with an expectant audience, many of whom clearly knew what to expect from the John Wright Band. This was my first experience of the band, and definitely not the last. "The performance was captivating from the start. There was a lot more to this than a superb vocalist and two excellent musicians. Collectively and individually these three men had an overpowering stage presence, and I found it hard not to watch the band intently. "Musical arrangements were always sensitive to the melody. The guitar work of Kenny Speirs moved seamlessly from the bold chiming of his picking style to solid chunky strumming. Fiddle player Stewart Hardy skilfully adapted his playing to suit the mood: at times he chose to remain silent, at other times I almost expected to see sparks flying from the bow. The crystal clear PA (thanks to the band's own sound man) would have shown up the slightest imperfections in musicianship, but there weren't any. "Much of the set material was taken from the recent release "Language of the Heart", with songs ranging from the haunting title track (a David Wilcox composition) to John Gorka's upbeat 'Good Noise', We were also treated to songs from earlier albums, and Kenny Speirs gave a fine vocal performance of a Scottish song about a man's conversation with the north wind, with Stewart's fiddle playing beautifully complementing the guitar. "The interaction on stage between the band members showed a great sense of fun and enjoyment. John Wright not only has a great voice, but the perfect persona to front this band. His striking charisma, entertaining anecdotes, and ability to encourage the audience to sing are qualities that make for a very special live performance. Anyone who can lead an (initially shy) audience to sing the chorus of Ron Kavana's 'Reconciliation' (with harmony) is a force to be reckoned with. "All in all, a superb evening's entertainment. This band is making a name for itself all over Europe, and it is not hard to see why. I, for one, will be keeping my eyes peeled for tour dates the next time around."

Bob Walton reviews their latest album "Language of the Heart" in June 2001's fROOTS:

"Finally, yet another Scottish singer making waves is John Wright, whose achingly pure tenor vocals definitely make the ears prick up, with a selection of emotionally charged if introspective material from a diverse selection of modern songwriters (John Gorka, Kieran Halpin, Robin Laing, David Wilcox, Lucy Kaplansky and others). Producer Mike Silver and several others augment the band, and the whole album is just as smooth as silk. Wright's performances seem to divide opinion: for some he's the best thing since Bailey's Irish Cream, while others wonder what the fuss is about. There's no doubt he's got a gorgeous voice, and has such masterly control of diction and timing it can occasionally be a bit unnerving - deliberately so, I suspect. Cat Stephens' "How Can I Tell You" and the title track are both good examples of what I mean. This album will clearly appeal to JWB fans in spades; whether it will convert many of the sceptics is less sure. But eschewing consideration of whether it's folk/ roots music, MoR or pop, and which camp you might fall into, Language Of The Heart is a beautifully put together piece of work. Who knows? You too may fall under its spell."

Also, see their other entry in the archive.

24 September 2001 - Kristina Olsen

Here's a review of a gig at Leyland in September 1999 by, um, Anon in Folk North West, Winter 1999/2000 edition:

"Fronting the guest spot was the brilliant, sensitive, sensual and humorous Californian singer/songwriter, Kristina Olsen, with her Western Australian 'cello accompanist, Peter Grayling. Olsen is a creative, poetic writer observing and collecting snatches of life and turning them into memorable imagery and stories. This short tour coincided with a newly recorded CD, 'Truth of a Woman', her sixth album and, once again, featuring Peter Grayling on 'cello. "The title track of her new album, featured early on in her first set, draws (literally) on her experiences in learning to develop her visual artistic talents when attending life classes. 'Rainy Night in Chinatown' has you reaching to turn up your coat collar and put up the umbrellas - very much the feel of Hoagy Carmichael's 'Hong Kong Blues'. " 'Phoebe's Iceberg' was the most poignant moment of the evening. It's an instrumental featuring Kristina playing steel bodied slide guitar. Written specially for a child called Phoebe, a victim of SPA, the title derives from her doctor who, whilst travelling in the Antarctic, saw an iceberg and named it after her. As well as appearing on the new CD, this has also been released separately as a single to help raise money for Jennifer's Trust. " 'The Yellow Piper' is the liberating tale of a female flyer who spreads her wings in more ways than one. 'Big O' believe it or not, is not a biographical tale of Roy Orbison. Featuring multiple rather than double entendres, it encourages the world to 'come together', with multiple rather than single 0-s. (If you've seen that scene from 'When Harry Met Sally' you'll get the gist!). "The first song of the evening contained the wonderfully vivid line -'if love was a drought and you were a storm, I'd take all my clothes off and let you pour down.' Olsen draws on a variety of influences that are strongly embedded in the folk and blues heritage. It is understandable why she is in such demand in and outside her native land as a top class folk club, coffee house and festival performer. As a singer she can be as understated as Michelle Shocked and as raunchy as Bonny Raitt. Peter Grayling provides a perfect accompaniment on 'cello. His classical background, and ability to move freely between musical genres, complements Kristina's style of music. "In spite of the hindrance of a heavy cold she produced a truly heart-warming performance. By 17 September Kristina's voice was fully recovered. She and Peter appeared at Carlisle Folk and Blues Club. Folk North West compatriot Dave Jones was there and fully shares my enthusiasm for this outstanding duo. They're also thoroughly nice people. Don't miss them next time they are near your neighbourhood. Get the new CD - it's well worth it. Excellent lyrics and superb musicianship."

Mike Cooper interviewed Kristina in April 1999's fROOTS. It's a fascinating read so if, like me, you're sad enough to have a loft full of back issues, check it out. Here's a couple of short extracts to whet the appetite:

' "I was born and grew up in Haight Ashbury. Always loved music and listened to all the '60s: Buffy St. Marie, Bob Dylan and Joan Baez. Then, when I was about eight years old I first heard blues and couldn't believe what a great sound that was. I started playing the piano when I was five, and the guitar at ten, listening to Mississippi John Hurt and Mance Lipscomb... I was a hyper-active, multi-instrumentalist, playing banjo, saxophone, bass and countless other instruments, during my teen years. Everything I could afford, and I even built instruments"

8 October 2001 - Mundy Turner.

Mesmerising sensitivity, voices to die for, powerful yet unpretentious, Mundy-Turner are nothing short of brilliant.

Jay is a versatile guitarist, alternating between driving and delicate. Cath plays piano and melodic fiddle in a style which is a cross between classical and folk. They both sing with subtlety, power and passion. Amazing musicality, strong writing and terrific stage presence: natural communicators.

Our friends at Folk on Tap obviously love 'em. Most recently, Les von Hedset reviewed 'Naked' in the Autumn, 2000 edition:

"This is the second UK release for Jay and Cath and, as the title implies, they've gone for a "what you hear is what you get" approach. The entire album is acoustically based, self -penned and very much what you would expect to hear at one of their concerts. Three tracks feature percussion from ex-Steeleye Span drummer Nigel Pegrum, who was also responsible for the recording and part of the production. Three of the tracks, the instrumentals, 'Tan-y-Llyn' and 'A Hot Day' plus the song 'Georgia, A Ladder To The Sky' are taken from a play about the life of American visual artist, Georgia O'Keefe. All have a wistful, ethereal feel underlying the strong arrangements. 'Riverman' is a great song, dedicated to George Parsonage and his sister Ann who run a 24 hour rescue and recovery service on the River Clyde in Glasgow, whilst the rockier 'This Town' charts the difficulties faced by many musicians in search of work and stability. The duo's playing and singing is as strong as ever and Cath seems to have developed a greater depth to her vocal range. The album is a must for the many fans that they have gathered on their last two tours over here and first-time listeners will not be disappointed with this collection and the joy of songs such as 'Katoomba-Deh'. "Try to catch Jay and Cath before they return to Oz in the autumn."

There's a long feature on them by Sandy Satyanadhan in Folk on Tap (Autumn issue, 1999). "Too good to see just once" says Sandy. Oh: they're on the cover, too. And they're also featured in the Summer 1998 edition: complete with really scratchy pictures. Are you sure you're keeping these back issues handy? We may be asking questions instead of holding a raffle...

The notorious "The Good, The Bad & the Ugly" column in December 2000's fROOTS gives their latest album, "Naked" a thumb's up, saying:

"Second full outing for bitter-sweet sounding duo featuring ex-pat singer Jay Turner and Australian fiddler Kath Mundy. A stark, back-to-basics set with an intimate feel, producer Nigel Pegrum captures their intense atmospheres and softer moments perfectly. An example of two souls in highly creative communion"

22 October 2001 - Bohinta

"Nobody's done music quite like this before... hints of Moving Hearts and an ethereal quality reminiscent of Enyo, but comparisons will never do them justice, they need to be heard" - ROCK N'REEL

Bohinta - formed in Dublin and fronted by Martin and Aine Furey, have been performing again in the UK and Europe. Now gigging in an exciting new acoustic format... blah blah blah... other stuff from the biog snipped, 'cos they didn't have Aine with them when they appeared with us. Now, I wasn't there, so I don't know what they were actually like, but I think the consensus is that their new singer, Sally, whilst having a distinctive voice, hadn't really come to terms with the material yet. In short, they were a huge disappointment.

05 November 2001 - Last Night's Fun

...who are Chris Sherburn, Denny Bartley and Nick Scott

The traditional music of Ireland with fresh arrangements and new interpretations, Last Night's Fun have a truly inspired instinct for rooted instrumental music.

Rich and soulful vocals; fierce, pure and note-perfect concertina; powerful uilleann pipes; driving and syncopated guitar - a beautiful collaboration of talent.

Brian Peters interviewed Chris and Denny in July 1998's fROOTS. If, like me, you're sad enough to have a loft full of back issues, check it out.

There's a four-page interview and feature on them by the wonderful Sandy Satyanadhan in Folk on Tap (Winter issue, 2000). Here's a brief extract:

"I first came across Chris Sherburn & Denny Bartley at the 1998 Gosport Easter Festival and was so impressed that I described them as a highlight of the festival and wrote of them: "Chris Sherbum (concertina) from Leeds and Denny Bartley (guitar and vocals) from Ireland were accompanied by Chris's sister Jane on bodhran. Now these are more than first class musicians; they are entertainers of the first order with a line in patter which is second to none. They have a very relaxed and casual approach with their audience, and a light, witty and chatty style. Indeed they are so natural on stage that it is as if they are talking to a few friends in their sitting room. It is seldom that an act builds up the sort of audience rapport that these do. I defy anybody to be miserable around them. Jane's appealing smiles and giggles are a joy to behold. Mainly fast, bouncy, foot-tapping music but some well known songs with unusual arrangements. Denny is the singer, with a slight huskiness to his voice. Chris is the chatty one. A tremendous stage presence from this act and an audience wild for more!" I have since seen Chris and Denny perform on a number of occasions (have even booked them myself) and they remain an act I will go out of my way to see... <other three and a half pages snipped... >"

19 November 2001 - Alan Burke.

A welcome return for Alan, who was last with us in February 1999

Having played professionally for 10 years, with his Irish music band Afterhours, Alan has now stepped out as a solo artist to gain his own freedom of expression. His voice is full of power, sensitivity and clarity. His inexhaustible repertoire of traditional, Gaelic and contemporary songs are so varied in mood and styles; his presence and delivery demand the attention of his audiences. His guitar playing is also powerful, but, at the same time, sensitive. He was a session musician as a drummer (in his teen years), and so the rhythm of his playing has been influenced by his skills as a percussionist. Alan is a well respected singer and musician amongst his contemporaries.

He has played supporting Christy Moore, Sharon Shannon, Moving Hearts, and Altan. Also, has played alongside Donal Lunny, Davy Spillane, Paddy Glackin, De Dannan among many others. High-energy and total commitment, moving his listeners from laughter to tears, maintaining the excitement that he exudes. He has an entertaining rapport and is able to make his audience feel relaxed.

John O'Regan reviews his latest album "Tip of the Tongue" in January 2001's fROOTS:

"Alan Burke's second solo album "Tip Of The Tongue" has the ex Afterhours frontman now safely ensconced in his solo career. Burke can handle both up-tempo material and more sensitive songs with equal aplomb and with the right backing turns in some impressively pleasing performances. With his Afterhours companions, including piper Francis McIllduff and one time fiddler Henry Sears and more, he provides some riveting moments. Subtle backings add additional light and shade yet never intrude sufficiently. "A solid take on "Longford Weaver" learned from Andy Irvine gives Burke the chance to place his own stamp on the song of daring-do with alcohol and loose women. Burke's voice is a distinctive instrument with a sound of its own. Strong and personable without being derivative, it characterises his Irish background. He can handle the serious lyrical ballads like the Co. Cork based "Banks Of Sullane", "Green Brooms" and the obscure American ballad "Across The Blue Mountains", turning in performances that emphasise the lyrical qualities of both his voice and the narratives. By turn he can rip it up and handle the comic shenanigans of Ned Flaherty's "Drake", a comic song of some age but generally forgotten until artists like Alan Burke pick up on it and cause a fresh examination of its merits. Burke's antennae also pick up some unusual songs like "The Squire's Bride and The Shepherd Boy" and especially "Sweet Dirty Lane", the latter a Patrick Street-like tale. "Here is both an excellent exponent of Irish songs and also a performer of considerable power and ability and "Tip Of The Tongue" is a further demonstration of his narrative and lyrical powers."

03 December 2001 - John Conolly

(Hope you like the picture!) Playing guitar, melodeon and whistle, John is an internationally respected singer-songwriter, whose compositions, such as the classic "Fiddlers' Green" and "Punch and Judy Man" are known and loved all over the world. Many of John's songs have a tang of the sea, reflecting his upbringing on the east coast of England; he is also a fine interpreter of the tradional songs of his native Lincolnshire.

In Folk on Tap (Spring issue, 2000) Simon Brown reviews "Send Us A Postcard":

"John Conolly wrote 'Fiddlers Green' and 'Punch and Judy Man' and many other fine songs. He also wrote a good number of humorous and often bawdy ditties too. "Send Us a Postcard" is a collection of these, which, according to their composer, were not released but escaped while his back was turned. He is accompanied here by Robin Garside and Pete Sumner and, between the three of them, they play a variety of instruments. Many of the tunes will be recognised from their original versions. Benny Hill, Harry Belafonte and George Formby are plundered freely. The words have been changed to protect the laughter. Some of the songs are not PC but they are humorous. One or two have more serious content. Have a listen to 'The Librarian's Lament', 'The Fastest Mobile Library in the West', 'Lady Morris Dancer' and 'Smartarse' and see if they make you smile."

Tudor Folk Club Chesham, Bucks, England