![]() ![]() Ancient music rubs shoulders with newer tunes and the fusion is seamless. The album takes a wide-spanning turn through a selection of reels, waltzes, jigs and marches, and along the way covers some of the best traditional music and includes influences from Scotland, Ireland and America. The relaxed and easy way they deliver the mix of music on this album belies the dexterity and skill that clearly goes into its creation. ‘Highland Strands’ from Kevin Macleod (plus a few good friends) is a fine example, played by musicians rightly classed as masters of their art. This may be Kevin’s first solo recording, however I’m sure it’ll not be his last.Ĭertain things are as constant as the sunrise, the enduring attraction of lovingly-delivered Scottish traditional music is one of them. ![]() As the artist says “It’s a fresh look at Scottish traditional music, with swing, ring and drive in every note”. What makes Springwell a delight for the listener is the sheer joy, which Kevin obviously gets from playing these instruments, and that comes across in the infectious nature of the music. With the aid of an abundance of guitars, 9 in total, ranging from a 1922 Gibson mandolin, to a 1992 electric tenor banjo, Kevin steers us with great skill through his interpretations of various Scottish fiddle, and bagpipe tunes. Alec Finn, and Frankie Gavin of De Dannan, Malcolm Jones, and Freeland Barbour of the Occasionals, and to complete the roll call John Martin, from the Tannerhill Weavers. With the greatest respect to Kevin, it was the list of musicians he’s assembled to join him on Springwell that first caught my eye. I must admit to an unfamiliarity regarding Kevin’s musical background, however spells playing with The Occasionals, and on Freeland Barbour’s Northlins, have clearly stood him in good stead on this, his first solo excursion. This album is both for the connoisseur and layman alike. Springwell basks in the glory that is the Celtic acoustic guitar. ![]()
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