…and there was me thinking 2020 had no more surprises. Amidst the mind-numbing boredom and days of unbearable frustration that we all felt in lockdown this Summer, I posted a few cycle-breaking videos online for a bit of fun. One of which was Ceòl Mòr Stlye which has now been nominated for a Trad Award in the ‘Best Video’ category – (eh!??). Here it is if you missed it first time round. Feel free to vote for all the trad categories here.
I am very excited to announce Breabach’s newest project Dùsgadh is underway. The band are working with the Ediburgh based animator Cat Bruce on a brand new animation inspired by Scottish folklore and the theme of awakening. The production will be delivered virtually across the UK in Winter 2021. More details to come. Keep in touch with the project on the band’s facebook page. Big thanks to Creative Scotland for supporting this journey!
The Scottish Music Academy have launched a set of mixed level courses for numerous trad-celtic instruments. The courses range from complete beginner to advanced and the course leaders are some of my favourite Scottish folk musicians – it is a great honour for me to be part of this team! We will be working hard with The Academy to develop and promote this forward-thinking online resource. Please check out our Website and Facebook page for more details!
Please look at my Tuition page. I am offering online lessons for those who would like to advance their playing on bagpipes and/or whistle!
I did a short interview for the Canadian magazine ‘Celtic Life’ which just came out. I only have permission to share my own article unfortunately. You can buy the magazine online if it’s of interest to you!
We (Breabach) made it back to Edinburgh late last night. I have heard many musicians refer to Tønder (actually pronounced ‘too-na’) as being the “best folk festival they ever attended”. I had attended once before with Breabach 11 YEARS AGO and I remember having an excellent time, but I was keen to see what my impressions might be 11 yrs later, with a lot more festival experience under my belt.
We arrived around midnight on Friday, having been picked up by festival transport in Hamburg. We quickly checked in and then walked over to see if there was any craic to be had – Things were cooking. We headed for a beer and bumped into a hoard of pals from Scotland, England, Ireland, Canada, America, Quebec and beyond.
There were people dancing to a live music session in the corner of the hut and everybody in attendance was in tremendous form. So much for ‘playing it safe’ on the first night. We were out until 4.30am. Whoopsy. Worth it.
On the Saturday we gingerly rose from our hotel rooms. We got a real sense of the festival’s energy during the daylight hours and tried to go see as much as possible of their impressive line-up. The site is like a small village, really well designed and every taste and diet catered for. We’re talking barbecued hogs, Danish pastries, rum-and-cigar bars, sit-down restaurant tents, indoor music, outdoor music. Every member of festival staff was friendly, animated and knowledgeable on how to get instruments moved, questions answered, stages changed, problems fixed and most importantly get the atmosphere ‘fired up’. Priorities seem to be; great shows and a great party!
We then grabbed a handful of hours sleep before playing on the Sunday morning at 11am. We were a little glazed at first but the crowds, once again, were just brilliant and the team running the stage were top notch at getting us fueled with coffee and apple juice…and then more beers.
As broken as I am right now, I saw a lot of great music, caught up with a lot of old friends and have come away from Tønder Folk Festival feeling inspired to write more songs, play more tunes take more journeys. Maybe it is the best folk festival in the world??
…Certainly a great final festival of the Summer. Thanks for having us Tønder!
So, for all of last week I was in the land of Piping Live. Myself and a large portion of the world’s Highland pipers were in town for the festival and/or the World Pipe Band Championships which is on every August in Glasgow and brings more money to the city than any other single weekend in the year! There is plenty to keep folk entertained.
This year was a little different for me. I was invited to host the late night music at Piping Live’s festival club upstairs in the National Piping Centre – Cool gig to get. I decided to open each night with a 2/4 march and I had some scribblings of information on the acts involved but, the thing that really struck me was how easy it is to talk a load of crap when there is a mic in your hand! That was perhaps the biggest challenge. Having said that, I enjoyed scaling it back each time and hopefully found my swing by the Friday night. Each night had 3 to 4 acts and it was totally brilliant to hear these pipe-based acts young and old, men and women, from near and far. They each delivered music with a flair for tradition as well as brilliant skill and musicianship.
I was taken by the diversity of people that attended the late nights, and much of my time off-stage was spent listening to music but also meeting new friends and catching up with old ones. There is a real comradery at this piping festival. Pipers from across the globe throw around ideas for new music, have a pint, get excited about old music, have a few more pints, complain about current musical woes and eventually the drams come out and there are confessions what they would “really like to hear next” from the piping community. It is a great platform where these kind of discussions can occur and in some way, take root.
The week was full of musical inspiration for me with Tryst supporting Flook on the Monday night, acts at the Festival Club, a studio rehearsal between Breabach and Beolach on the Wednesday (more to come on that collaboration), an outdoor session on the Friday, The Worlds on the Saturday and to cap it all off, a performance with the legendary songwriter Dougie Maclean on the Sunday evening in Glasgow Royal Concert Hall. I honestly feel truly blessed to be involved in the Scottish folk and trad scene in Scotland. It amazes me.
Here is a video clip from our Tryst show earlier last week – hopefully for your enjoyment. Thanks to Megan Kenney for the video footage!
Cyclones and crashing rain attacked many parts of the UK this weekend, but there was another storm brewing, deep in the dark corners of Otago Street. Nine misguided pipers who go by the name Tryst assembled and began to pull together a new show as part of Piping Live’s opening concert.
Tryst comprise nine (and sometimes 10) fairly well-known Highland piping names from the Scottish folk scene; Finlay Macdonald, Ross Ainslie, Ali Hutton, Mairearad Green, Calum MacCrimmon, James Duncan Mackenzie, Lorne Macdougall, John Mulhearn, Steven Blake and our fearless conducter/sound technician Andrea Gobbi. The band formed over a few pints back in 2013. Conceptually aiming to push boundaries as bagpipe composers, arrangers and, as we keep finding out, as performers. It’s already been an amazing and challenging journey, realising each other’s vision of original music for a piping group…and there are always plenty of obstacles…but that’s just pipes for you!
New chanters and reeds were issued in July with the invaluable support of G1 Reeds. Final scores edited, instruments set up – this weekend was our one chance to bring the show together – supporting the folk superstars and long time heroes of ours, FLOOK!
Monday arrived like a flash and there was definitely a nervous edge upon arriving at The Drygate to conduct the sound check and play through any last-minute holes in the material.
The gig itself was a ‘big blow’, we huffed and puffed, feet stomped, hearts pounded, bodies sweated – It was a considerably moist affair for all those in attendance, but we had a total blast playing the new music! Thanks so much to our tuners Scott Figgins and David Shedden. The drones buzzed beautifully, the tunes and arrangements seemed to serves us well and the vibe from the Piping Live audience was really great.
Later in the evening, we got to hear Swedish duo Dram and then Flook headline the night. Unbelievably tight, packed full of expression and wonderfully animated arrangements in their set. It is an honor to play at such a renowned festival, but it is also invaluable to be able to take influence from bands like Flook and many others on the expanding folk scene.
Our next Tryst adventure will be at the William Kennedy Piping Festival, Armagh this November. Stay tuned!
A few days ago i received word that a mighty jazz musician, Joe Rigby, had died.
About 8 years ago Scott Donald (Man’s Ruin, Laki Mera, Funkin Idiots) rang up and got me involved in a jam session with an American born Sax player that had some ‘days off’ in Dundee, Scotland. He wanted to jam with a local piper. As it happened I was in town and pretty much free that evening, so I popped along to Showcase the Street.
Upon arrival, I was introduced to Roy Morris who acted as Mr Rigby’s UK agent, and then to a very mild mannered and undeniably ‘cool’ older gentleman, this was Joe. I could see there were mics set up already, and in respect of his readiness to play, i cautiously asked Joe what key we would like to start off in, or what kind of feel or line we could use as a starting point. To this Joe said “we’ll just do whatever happens man, its gonna be great” I confided that the pipes are a relatively limited instrument, they don’t offer much harmonic or dynamic range – at which point he came close to me put a hand on my shoulder and said “It’s cool man, we’ll just play and see where it goes”. I need to confess that these words gave me little comfort but i loved his vibe and we promptly got the instruments pieced together.
The ‘jam’ was actually a live studio session. The team being Joe Rigby (saxes and flute), myself (pipes), Scotty Donald (kit) and Billy Fisher (percussion). Our improvised collaboration was intended for Joe’s new album ‘For Harriet’ a three track record with literally no planning and tons of musical recklessness. I was in the company of an untamed jazz god, initially dipping and diving through curious musical motifs before inevitably attacking my senses with every possible tone, squawk, squeak and scream that the sax could achieve.
This was (thankfully) not my very first encounter with free jazz. I took part in a music retreat organised by Hands Up For Trad in 2009 called Distil. We had a mixed bag of mentors on the course, one of whom was a free jazz bassist called Simon Fell. An incredible musical mind, his sessions on improv’ gave me at least a slight foothold on how to approach and interact with improvisation of this level.
Don’t get me wrong, I was absolutely out of my depth! This was a high speed train. Joe had been riding this train for quite some time and i simply hopped on the back at the last minute. Clinging on for dear life as we hurtled down a dark and twisting track… i did my best to grow in the moment, stretching and reacting to Joe’s flare and fearless experimentation in music. Perhaps one of the lighter moment’s from ‘For Harriet’ would be helpful as a reference:
I think the world of free jazz is, to many folk, an enigma…for some it might even be a complete unknown. That evening in a back street studio of Dundee, I danced around the edges of an endless landscape of possibility. I wasn’t sure how to play, where to go, or how to feel…But, perhaps that is the aim of this rare art form? A place where everything meets nothing, a musical exorcism, a release from the self in some way. It was somehow all of these things and I often think back on the session, wondering how i would respond to that musical exchange today…and how many journeys Joe took throughout his long and inspirational career. As a slightly older musician today, I enjoy reassessing what my musical limits and tastes might be? At what point do things become ‘too much’ for me? When do I feel the urge to stop or incentive to ‘hold back’? My musical outlook is certainly a lot broader thanks to the late, mild-mannered gentleman of jazz, Joe Rigby. Rest in peace Joe.
Sorry for my tardiness folks. I was at the local pub quiz last night and didn’t quite manage to finish this weeks blog in time…we lost by the way.
I, as it happens, am a huge Mingus fan. A fan of both his music and his rather madcap background and character having read ‘Beneath the Underdog’, a completely bizarre and intoxicating autobiography. I wondered if this young team would be able to convey the playfulness and eccentricity of Mingus’ classic album – Yeeeessss, in the first few seconds my concerns were absolutely quashed. Every hook, groove and break were electrifying – A brilliant night! The magic of the music was enhanced only by the cold drink in my hand and the low lit mood of this very cool underground Venue.
On Saturday, Breabach got into a van and headed South to Warwick Folk Festival to perform the late night slot.
We always love getting back to Warwick, they have had us down several times over the years and it always achieves a warm and welcoming vibe, a wide selection of ales (tip of the hat to Nige’ and ‘Tash) as well as a huge squad of Morris Dancers performing in and around the site! I think this was our first time playing the final slot on the Saturday so, thanks again to the festival for all their faith, it was a great party!
Monday was all about the pipes. This Summer, my mission has been to get my grandpa’s old set of Henderson-Laurie’s into full working order. Based on very sound advice from James Duncan Mackenzie, I contacted Ross Johnstone (Johnstone Bagpipes). Ross is based in Menstrie, Clackmannanshire a village near Stirling and he is a master craftsman of the highland bagpipes…no, literally. Ross has just been accepted into the official Guild of Master Craftsmen as a bagpipe maker – an incredible accolade (which you can see hanging on the wall of his workshop) but also, very well deserved recognition of a man who works solely by hand and by lathe.
Ross’ incredible work on my set of ‘family pipes’ has been above and beyond what I could have expected and it was a joy to get the pìob mhòr home later that afternoon for a tune. Singing!