By looking at the cover art to Jim & Holly Lawrence’s Caledonian Shadows, their third project to date, one might get the impression that the recording is the soundtrack to a Disney film or a collection of children’s songs. Such assumptions would be understandable, but they would be incorrect. The meaning of the father and daughter duo standing in a forest clearing, surrounded by and interacting with several illustrated characters, is explained in brief in the liner notes and in greater detail on their website, jimandholly.com. It turns out the cartoon figures are mostly depictions of fictional characters from within the annals of Scottish folklore. The exception is the illustration of famed 18th century Scottish poet and lyricist Robert Burns. As such, the songs utilize these characters, and in Burns’ case, his lyrics, to tell stories, likely both allegorical as well as fictional. Jim and Holly Lawrence describe their portrayal of Irish and Scottish folk ballads as “Celtic music with an American twist,” which is concise and quite accurate. Having followed in her dad’s footsteps by earning a music degree from his alma mater, University of Mary Washington, and singing in a community-college chorus known as the Fredericksburg (VA) singers, Holly, with her pure and gentle soprano, proves the ideal complement to his musical accompaniment on Caledonian Shadows. Jim, in addition to his own lead and backing vocals, provides ample backing with guitar, bass, mandolin, whistle, soprano recorders, bodhrán and bongos. In addition, the project includes contributions from numerous musicians on a variety of instruments including fiddle, flute, triple strung harp, djembe and highland bagpipes, among others. Despite ample instrumentation, Caledonian Shadows possesses an open and uncluttered soundscape, allowing both instruments and voices to be heard clearly.
Holly’s resonant a cappella rendition of Burns’ “Such a Parcel of Rogues” is powerful and almost anthemic in its expression. Lyrics like “The English steel we could disdain / Secure in valour’s station / But English gold has been our bane / Such a parcel o’ rogues in a nation,” ring with power and conviction. “The Brownies,” a Jim Lawrence composition, is delightful, featuring Katie Miller’s fiddle played with gusto. Jim handles lead vocals here, bringing an unembellished storyteller’s quality to a song inspired by fictional sprites of Scottish folklore. The wordless refrain is fun and infectious, no doubt making it an audience favorite at live performances. The jubilant and rousing “The Atholl Highlanders” is one and one-third minute’s worth of guitar, fiddle and percussion merriment.
One of the Anglo-Dutch wars fought in the 17th or 18th century provides the inspiration for “Lowlands of Holland” whose author is unknown. Blending conventional folk/pop with traditional melody, Holly’s emotive soprano and the natural guitar and bass ensemble make for a pleasing combination. Another Burns composition, the lullaby “Flow Gently, Sweet Afton,” finds Holly singing with an innocent almost girlish quality as harp, whistle and guitar offer sympathetic support. The result is beautiful and comforting.
Both “The Wee Wee Man” and “The Green Man of Knowledge” find inspiration in the characters in Scottish folklore that bear their names. The former with its wistful melody and placid accompaniment, with Holly providing lead vocals, sits nicely alongside the traditional pieces on Caledonian Shadows. Allowing the natural textures of fiddle, acoustic guitar and bass to come through points to the tasteful production values used both here and on the project as a whole. The Harry Chapin-esque “The Green Man of Knowledge,” a Jim and Holly duet, takes on a bit more exuberance, particularly with the use of a drum kit. With lyrics such as, “And the Green Man of Knowledge roams his fortress alone / Trapped in the silence of his lonely halls / Regarding his kingdom from his towers tall / Wailing and cursing at unfeeling walls”, a tragic and riveting tale is told of one whose wealth and intellect fail to bring true fulfillment.
A seven-song portion of Caledonian Shadows, tells the story of Tam Lin, an old Scottish fairy tale of a young man who is held captive by faeries and the young damsel who comes to his rescue. Since these are part of a larger theme, it is quite necessary to listen to each of them in order to get the proper and intended context. Even so, “Redemption” is a starkly gorgeous piece thanks to Katie Miller’s fiddle and Jim’s sparse guitar and bass. As the piece closes, the music dissolves as Holly’s voice carries the somber melody and the accompaniment emerges once again in the closing moments.
The appropriately titled “Praise to the Man/Scotland the Brave” is robust and inspirational with its valiant bagpipes and assertive bodhrán rhythms. The combination works well and is a welcome change of pace. “Caledonia” is a tender and effecting ballad written by Scottish singer-songwriter Dougie MacLean. As Holly sings on the chorus, “Oh but let me tell you that I love you / And I think about you all the time / Caledonia you’re calling me and I’m going home / But if I should become a stranger / You know that it would make me more than sad / Caledonia you’re everything I’ve ever had,” the message of love and appreciation for one’s homeland comes through with unabashed sincerity. The simple support of acoustic guitars and Ethan Wagner’s expressive cello are ideal for Holly’s honest vocal delivery.
With Caledonian Shadows, Jim & Holly Lawrence have succeeded in assembling a body of songs, both traditional and original, that reflect their love for Celtic music with a balance of reverence and creative passion. This album serves well in keeping to the motto “Celtic music with an American twist,” making for an accessible listening experience for the uninitiated and devotee alike.
Review by Mike Roots
Rating: 4 Stars (out of 5)
No comments:
Post a Comment