This album is a confluence of old and new, comprised of covers of other people's songs. But these songs are from the Renaissance! You see Philip Pickett is the Director of Early Music at Shakespeare's Globe Theatre and virtuoso player of early woodwind instruments, like the crumhorn. He is joined by his wife, Sharon Joshua, who happens to have a passion for early keyboard instruments, such as the harpsichord. Richard Thompson - yes, THE Richard Thompson - was invited along for the ride as were some of his cronies from the seminal English folk-rock band Fairport Convention. By "some of his cronies" I mean the entire Fairport rhythm section: bassist Dave Pegg, rhythm guitarist Simon Nicol, and drummer Dave Mattacks. Also joining the fray on medieval fiddle is Pavlo Beznosiuk.
The prospect of dragging 500 year old songs into the 20th century seems a daunting task. The potential for boredom and blandness, or descent into parody must have been great. All of this was avoided, however, because everyone involved had a great love for music new AND old.
The album starts with the English song "The Short Mesure Off My Lady Wynfylds Rownde". The dulce melos, an early incarnation of the piano, leads the way. Despite the sound of the instrument being foreign (to most people anyway), the melody is just blatantly catchy and seems to float like a butterfly from the speakers. Bass and drums kick in to give the song some muscle and a recorder plays the melody in harmony with the dulce melos and virginal, another early keyboard. About two and a half minutes in, Thompson plays a melodic solo which helps bring the song to a close. What's so great about the introduction of the electric guitar here is that it doesn't seem out of place. The timbre of the instrument fits along nicely with the older instruments. This is a hallmark of the album and one reason why it succeeds so well.
"Chi Passa Per Sta Strada", and Italian piece follows. This time around, the drums start the song and continue throughout. Mattacks plays on the odd beat giving the song a disjointed feel. The lead instrument here is Pickett's crumhorn, a wooden instrument shaped like a J with a double-reeded. Another fantastic song, it features Thompson playing the main melody at times while playing off of it at others.
The third track is the first of four that is a medley of various pieces, all from Venice: Fusi Pavana Piana; La Canella; Son Quel Duca de Milano; La Torza. The first section is a beautiful, lilting song with the delicate melody played on Joshua's dulce melos. Pickett plays recorder in a counter-melody. Underneath all of this is some understated drumming by Mattacks. The second part is livened by a faster tempo as the drums come to the fore. Recorder is featured once again and the virginal returns. The Fairport boys keep up an odd beat going and Thompson adds some tasty licks. It's hard to imagine someone actually dancing to the time signature but it really moves along.
One barely notices the seamless segue into the third section. A short drum fill leads the beat into more sprightly territory and another crumhorn solo. Nicol's guitar is great here . It not only adds to the rhythm but also fills out the melody nicely. Another brief drum part ushers in the final movement. The recorder again takes center stage. Depsite this, there is some great ensemble playing ton this track. Mattacks goes from the high-hat to ride cymbal and everyone goes off! Great stuff!
The next song is also a medley: "Le Forze d'Hercole" and "Lo Ballo Dell'Intorcia". Cymbals crash and a heady drum beat begins. Ten seconds later, Dave Pegg's bass helps punch out the rhythm. Nicol's guitar joins in followed by the virginal. We are then treated to Thompson's trademark guitar soloing alternating with Pickett's crumhorn leading the melody. The only problem here is that it's too short. The second part of the song kicks too soon and is quite speedy. This song is incredible - guitar and recorder solos battle! But it gets even better as the soloing gets fiercer with the tempo becoming faster still. Thompson's guitar leads the charge after a few minutes and the songs races to an end.
"My Lady Careys Dompe" is a showcase for some ethereal recorder playing. Nicol's acoustic guitar shimmers in the background over an uninstrusive, yet very effective, drum/bass line. Some beautifully restrained guitar from Thompson ends the song and it slowly fades out. The pace picks up again with "Tutte Venite Armati." The heraldic melody begins on the shawm and crumhorn. But it's soon mirrored on the guitar which takes off on its own course before the song is drawn back to a conclusion by the shawm.
The penultimate piece on the album is another medley, this time of five parts: "Passo e Mezo," "Pavana In Passo e Mezzo," "La Cara Cossa del Berdolin," "El Pomo de lo Pomaro," and "El Marchexe de Saluzzo". It begins with a gentle melody akin to "La Canella" - very graceful but with a hint of urgency to it. Recorder and clavichord exchange the lead roles here. With the second part, the melody remains virtually the same but the tempo is sped up, giving it a more joyous tone. Part three has a similar melodic structure but sounds a bit more menacing, more tense with the harsher sound of the crumhorn and makes a nice contrast to the music that precedes it. As the song begins to head for home, the tempo picks up again and the virginal solos. Thompson's guitar also leads here in spots, while Pegg really cranks out some melodic bass runs. The final section has a very stately feel to it and a melody that seems to run away from itself only to come back to from where it came.
Rounding out the album is a piece which is also a combination of shorter songs. Weighing in at nearly 13 minutes, it leaves plenty of time for everyone to solo. The fiddle is prominently featured here. The four sections are: "Ein Guter Neuer Dantz," "Tedesca Dita La Proficia," "Der Mohren Aufzugkh," and "Branle Hoboken." The rhythm is air-tight. Mattacks hammers away and really adds some oomph to the song while Pegg's bass churns out staccato rhythm lines. Crumhorn and guitar alternate solos while the regal organ adds color. Thompson sounds slightly demonic here - the guitar sounds "painful" if that makes any sense. Pandemonium comes to a halt and the fiddle is introduced. It plays a joyous, danceable line and is joined by the recorder and clavichord in a mirthful chorus. Thompson's guitar enters and the songs skips onwards to the final movement. A darker tone takes over again - as if storm clouds had moved in on a sunny day - in the form of Thompson's guitar. We are given a brief respite with a playful fiddle interlude. Accompanied only by cymbal work, it feels like a last gasp. Then the drums crash in and the guitar returns like an old nemesis. A manic bass drum is engulfed by cymbal crashes and a wailing guitar. But it is a mournful fiddle which closes the song and album.
The music on this CD was undoubtedly a labor of love. It stands as testament to the talent of the performers and to the timelessness of great music. Each song is catchy yet there is always seems to be a lot going on. One of the album's great strengths is that it manages to combine instrumentation, both old and new, in such a harmonious way. Virginals and shawms seem right at home next to the drums and electric guitar. The contrast between acoustic and electric doesn't make the arrangements seemed forced but, instead, enhances the songs.
If Renaissance period instruments don't naturally appeal to you, this album would be a good way to try and break down that barrier. Once that's done, you will find repeated listenings very rewarding. So, just sit back, turn up the volume, and imagine yourself in a 16th century tavern dancing the night away.
(This was originally published at The Green Man Review back in 2003-08.)
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