kays article and weekly news 26/06/12

Article, Foggy Furze Folk Club, Friday, 29 June 2012

We’ve had a cracking good couple of weeks over at the Foggy Furze Folk Club, first a change of scenery, a night in the library at the Atheneum Club, Church Street, Hartlepool and then this week Brian Fisher gave us a wonderful interval on guitar and Northumbrian pipes.

Our next guest night will have a jazz feel so come along and tap your toes on Tuesday, 10 July 2012.  You’ll be welcome.

Over on the headland there’s a wonderful night to be had tonight at the Pot House with Barrie Archer at the Headland Folk Club.  You need to remember to ask him when his next night is or consult his facebook site at Headlandfolkclub Archer.

There’s a regular night of folk and acoustic music over at the Nursery in Hopps Street in Hartlepool every Monday, just to keep your folkie vibe chiming, man, where Yorkie will welcome you to enjoy the music.

Last night your happy writer attended the Welly Folk Club at the Wellington pub in Wolviston to enjoy listening to Martin Carthy, a doyen of the international folk scene.  You’ve got to get yourself along there every week.  They have top drawer entertainers on the last Thursday of every month.

So don’t forget to come to your value-for-money folk club, (our prices haven’t gone up in 9 years) and enjoy a bit of laid back leisure.  You don’t have to sing, you can just watch if you want.  Keep up with what’s happening at the FFFC on www.foggyfurzefolk.com or get in touch with me on kay@foggyfurzefolk.com.

 

Rebekah Findlay review From Dave Kidman

Review by Dave Kidman of Rebekah Findlay’s new CD, ‘Improvising Around the Sun’

‘Improvising Around The Sun’ – Rebekah Findlay (Ted Records TEDRFCD.002)

Rebekah’s rapidly making a name for herself as one of the region’s most compelling musical personalities and her captivating live presence also translates well to disc, which is a definite bonus in this day and age where fickle tastes and superficial attention spans dominate.  And what’s more, Rebekah knows how to put together a disc that will stand the test of time, for she has an acute feel for flow and texture and exactly what sounds right for each song.   Rebekah’s debut, Northern Skies, was, by any standards, a pretty stunning demonstration of her many talents, with some fabulous singing, lovely songwriting, deftly idiomatic guitar work and fiery, yet sensitive, fiddle playing.  These qualities are carried on through to this follow-up album, sure, but with, if anything, an even greater sense of accomplishment , while Rebekah’s astonishingly intuitive musical arrangement (that skill in getting so much from simple resources – principally her own guitar, fiddle and, occasionally, accordion with Joolz Cavell ‘s tremendously supportive cajon) is also every bit as much a feature this time around.  Her singing seems even stronger too, her voice is commanding, authoritative and fearless, and yet capable of amazing degrees of tenderness when the lyric calls for that quality and shading.  Rebekah tells us that the music on her new album evolved from many hours soaking up the sun in her garden improvising on her guitar around ideas for songs: hence the fancifully descriptive album title.  The inspiration for several of the songs in this new collection was less the beloved Scottish climes of Northern Skies and more her own northern roots; her Hartlepool ancestry comes sharply into focus on Gray’s Lament, whose melodic contour, echoing a forlorn pibroch, traces a poignant farewell to the shipyard where her grandparents worked together (the family ties reinforced by the presence on this track of her brother, Ben, singing backing vocal).  The tingling atmospherics of producer Chris Davison’s burnished electric guitar cradle Blackbird Song ( that specific birdsong represented by Rebekah’s florid fiddle counterpoint), supporting the lyric’s melancholy, flat-lined, almost numbed expression of a universal truth, while sweetly reflecting on the better times that have gone for good.  The album boasts further standout tracks: the dramatic traditional-style ballad of Lonesome Hill, sung (almost chanted) to a ritual rhythm from Joolz’s cajon, provides a stark contrast to the siren call of Rhythm of the Sea (this I sense harks back to idyllic times spent on the Scottish coast), which is energised by the keen pen of Iain Mackillop’s stunning bodhran playing.  And that’s just first four tracks (all self-penned), to which crucial mode of composition Rebekah returns for the disc’s closing triptych.  Between these points, an improvised instrumental piece provides a bridge to three diverse non-originals: a show-stoppingly expressive, impeccably arranged cover of Tom Bliss’s iconic masterwork, The Violin, followed by the well-loved traditional song, Ten Thousand Miles, (here, inventively, set to a restless, shuffling travelling-beat) and then another live favourite – Rebekah’s interestingly different take on the Grease number, You’re the One That I Want, (bringing out its inherent pathos and discovering it’s not really the cheap throwaway number it seems on screen).  Rebekah then retreats back to her own muse for the album’s final stages: Billy’s Song, a miner’s widow’s tale which sports some astounding double bass playing (Hamish Laishley) and ghostly trumpet (Kristofer Eland), followed by the comforting, though similarly resigned imagery of Winter’s Sad Refrain.  Rebekah then takes her leave with the sublimely minimal Parting Lullaby, which – unusually for either of those kinds of song – takes the form of a desperate yet delicate entreaty, set to a strange meolody line resembling an oriental note-progression.  Like the rest of this album, truly mesmerising – as in its own way is the intensely attractive hand-crafted artwork (by Rebekah – yes, design’s another of the many strings to her bow! – with help from her mum).

 

Kays Article and weekly news

Article, Foggy Furze Folk Club, Friday, 1 June 2012

There’s so much to fit in today, best get on with it.

Tonight the New Prairie Home Companions are doing a 15-minute spot over at the Pot House during the Headland Folk Club and the Fisherman’s Arms will be having so many Jubilee guest cask ales, you’ll be lucky if you can get in the door.

The Backtrackers are playing over at the Catholic Club and are well worth your entry fee.

At the Foggy Furze Folk Club, we have had an excellent couple of weeks and a wonderful music hall interlude with Carol Southwell this last Tuesday.

We are looking forward to a virtuoso guest, Rebekah Findlay, visiting us on Tuesday, 12 June 2012.  Rebekah has recently released her new album which is being played on Mike Harding’s show on Radio 2.  She has an excellent way with songs old and new and plays guitar and fiddle.  You’ll so enjoy it and only £2.

Over at the Nursery Public House in Hopps Street, there is held the Pools Folk and Acoustic Club each Monday.

There are lots of places with live music on this weekend  and don’t forget your local street party.    Let’s hope the weather holds.

If you want to catch up on the news, then check us out on www.foggyfurzefolk.com or, alternatively, e-mail me on kay@foggyfurzefolk.com.  The FFFC is held at the Atheneum Club in Church Street, Hartlepool each Tuesday.  Only £1 on a singaround night or £2 on a guest night.  Pop in, you’ll be welcome.