The sands of timelessness
Duncan Chisholm – Sandwood
Duncan Chisholm – Sandwood
There can be a true timelessness to the most beautiful and emotive of musical pieces, particularly in the traditional styles and its instrumentation.
That timelessness, juxtaposed by being of place – and a very specific one – is beautifully conveyed in Duncan Chisholm’s sixth solo album, Sandwood, a twelve track work inspired by the renowned Scottish fiddle player’s love of, and visits to, Sandwood Bay, which lies, hidden (to most) and remote in the furthest north west corner of the Scottish mainland in Sutherland..
The theme of timelessness and place is set, narratively, right at the start of Duncan Chisholm’s Sandwood journey by Donald "Dall" MacKay on the short introductory track 'Pilgrimage,' which reflects Chisholm’s memories and thoughts of his first ever visit to the isolated and beautiful bay.
"Out here there is no time. Time is our imagination, past, present and future" Dall MacKay tells us before Chisholm’s own voice appears through his hauntingly plaintive, yet emotive and uplifting, playing.
But Sandwood is about far more than a spoken introduction and Chisholm’s exceptional talents (rightly regarded as one of, if not the, leading instrumentalist in Scottish modern-traditional music).
A large collection of talents have been pooled to give Sandwood even fuller sounding purpose and creative, compositional scene-setting – pianist and flautist Hamish Napier co-composed five of the tunes with Duncan Chisholm (and contributed another) while Capercaillie’s keyboard and accordion player Donald Shaw’s voice can be heard though two of his own compositions and piano and string arrangements (the latter given orchestral depth by fiddlers Patsy Reid, Megan Henderson, Fiona Hamilton and Greg Lawson).
Also featured are Martin O'Neill (drum, bodhrán), Su-A Lee (cello), Jarlath Henderson (uilleann pipes, whistles) and co-producer of the album with Duncan Chisholm, Ross Hamilton, whose bass and guitar parts provide many of the tunes with a contemporary feel or edge (much as Hamilton did with Wolfstone during his tenure with the band).
Hamish Napier’s light piano refrain opens 'The Light of Tuscany' before Duncan Chisholm’s fiddle takes a lead role, complete with delicate supportive accompaniment; a larger and more layered sound (featuring fiddle and uilleann pipes) then enters the fray in the shape of the uplifting 'Haze Across the Sun,' where contemporary meets the traditional.
That timelessness, juxtaposed by being of place – and a very specific one – is beautifully conveyed in Duncan Chisholm’s sixth solo album, Sandwood, a twelve track work inspired by the renowned Scottish fiddle player’s love of, and visits to, Sandwood Bay, which lies, hidden (to most) and remote in the furthest north west corner of the Scottish mainland in Sutherland..
The theme of timelessness and place is set, narratively, right at the start of Duncan Chisholm’s Sandwood journey by Donald "Dall" MacKay on the short introductory track 'Pilgrimage,' which reflects Chisholm’s memories and thoughts of his first ever visit to the isolated and beautiful bay.
"Out here there is no time. Time is our imagination, past, present and future" Dall MacKay tells us before Chisholm’s own voice appears through his hauntingly plaintive, yet emotive and uplifting, playing.
But Sandwood is about far more than a spoken introduction and Chisholm’s exceptional talents (rightly regarded as one of, if not the, leading instrumentalist in Scottish modern-traditional music).
A large collection of talents have been pooled to give Sandwood even fuller sounding purpose and creative, compositional scene-setting – pianist and flautist Hamish Napier co-composed five of the tunes with Duncan Chisholm (and contributed another) while Capercaillie’s keyboard and accordion player Donald Shaw’s voice can be heard though two of his own compositions and piano and string arrangements (the latter given orchestral depth by fiddlers Patsy Reid, Megan Henderson, Fiona Hamilton and Greg Lawson).
Also featured are Martin O'Neill (drum, bodhrán), Su-A Lee (cello), Jarlath Henderson (uilleann pipes, whistles) and co-producer of the album with Duncan Chisholm, Ross Hamilton, whose bass and guitar parts provide many of the tunes with a contemporary feel or edge (much as Hamilton did with Wolfstone during his tenure with the band).
Hamish Napier’s light piano refrain opens 'The Light of Tuscany' before Duncan Chisholm’s fiddle takes a lead role, complete with delicate supportive accompaniment; a larger and more layered sound (featuring fiddle and uilleann pipes) then enters the fray in the shape of the uplifting 'Haze Across the Sun,' where contemporary meets the traditional.
Donald Shaw’s beautiful air, 'A Precious Place,' wasn’t written about Sandwood but was recalled by Duncan Chisholm on so many of his visits to the secluded bay it couldn’t not be included, on title alone.
Similarly Shaw’s other contribution, the jaunty but emotive 'Islands on the Edge,' here featuring fiddle, piano and bodhrán.
The sea spray, sunshine and foot-tapping "summer comes to Sutherland" number 'Dizzy Blue' is another traditionally arranged number given a bright, contemporary shine while following number, 'White Bird,' provides musical contrast as an elegant, plaintive air (in both senses) for a high flying native of Sandwood Bay.
The short 'Snow On High Ground' (a near all-year-round occurrence in the highest reaches of Sutherland), featuring Hamish Napier, acts as a prologue to a change of Sandwood scenery and season for the next three tracks.
As the 'Burial Clouds' gather so to do guitar, fiddle, pipes, piano and bodhrán in the complex rhythmic pattern of 'Perfect Storm.'
The aforementioned instruments up the suitably stormy pace before a short melodic lull ensues as we head 'North to Cape Wrath' (the most north-westerly point of Scotland and mainland Britain).
'North to Cape Wrath,' featuring delightfully echoing guitar notes from Ross Hamilton, is segued with the perfectly titled, and perfectly fitting, 'Dark Reel.'
A shorter reimagining of multi-instrumentalist Fraser Fifield’s tune (from his 2002 debut album Honest Water), 'Dark Reel' is an exhilarating and frenetic end to the stormier weather of the Sandwood Bay area – but it's not quite the end of Sandwood the album.
That honour goes to calming, closing number 'Bàgh Seannabhad,' a moving and melancholic piano and fiddle nod to Sandwood Bay in its native Scottish Gaelic, both in title and musical expression.
Duncan Chisholm’s three album (Farrar - Canaich - Affric), six-year work, collectively The Strathglass Trilogy, became the musician’s traditionally framed masterwork (there followed a special, one-off Strathglass Trilogy concert with band and orchestra; the album of the event, Live at Celtic Connections, was awarded Album of the Year at the 2014 Scots Trad Music Awards).
That Sandwood has surpassed those albums, in terms of being Duncan Chisholm’s most evocative work to date (and winning Chisholm both Album of the Year and Composer of the Year at the 2018 Scots Trad Music Awards), says more about the musician, Sandwood Bay and the supporting cast that helped take him on his latest musical journey than any number of words can.
Sandwood is also the perfect soundtrack to the perfect inspirational landscape (an area that’s probably had more Viking footprints on its beaches than those of modern day visitors).
Anyone with a deep appreciation for music (traditional or otherwise) and natural beauty should take the time(lessness) to visit both.
Ross Muir
FabricationsHQ
Similarly Shaw’s other contribution, the jaunty but emotive 'Islands on the Edge,' here featuring fiddle, piano and bodhrán.
The sea spray, sunshine and foot-tapping "summer comes to Sutherland" number 'Dizzy Blue' is another traditionally arranged number given a bright, contemporary shine while following number, 'White Bird,' provides musical contrast as an elegant, plaintive air (in both senses) for a high flying native of Sandwood Bay.
The short 'Snow On High Ground' (a near all-year-round occurrence in the highest reaches of Sutherland), featuring Hamish Napier, acts as a prologue to a change of Sandwood scenery and season for the next three tracks.
As the 'Burial Clouds' gather so to do guitar, fiddle, pipes, piano and bodhrán in the complex rhythmic pattern of 'Perfect Storm.'
The aforementioned instruments up the suitably stormy pace before a short melodic lull ensues as we head 'North to Cape Wrath' (the most north-westerly point of Scotland and mainland Britain).
'North to Cape Wrath,' featuring delightfully echoing guitar notes from Ross Hamilton, is segued with the perfectly titled, and perfectly fitting, 'Dark Reel.'
A shorter reimagining of multi-instrumentalist Fraser Fifield’s tune (from his 2002 debut album Honest Water), 'Dark Reel' is an exhilarating and frenetic end to the stormier weather of the Sandwood Bay area – but it's not quite the end of Sandwood the album.
That honour goes to calming, closing number 'Bàgh Seannabhad,' a moving and melancholic piano and fiddle nod to Sandwood Bay in its native Scottish Gaelic, both in title and musical expression.
Duncan Chisholm’s three album (Farrar - Canaich - Affric), six-year work, collectively The Strathglass Trilogy, became the musician’s traditionally framed masterwork (there followed a special, one-off Strathglass Trilogy concert with band and orchestra; the album of the event, Live at Celtic Connections, was awarded Album of the Year at the 2014 Scots Trad Music Awards).
That Sandwood has surpassed those albums, in terms of being Duncan Chisholm’s most evocative work to date (and winning Chisholm both Album of the Year and Composer of the Year at the 2018 Scots Trad Music Awards), says more about the musician, Sandwood Bay and the supporting cast that helped take him on his latest musical journey than any number of words can.
Sandwood is also the perfect soundtrack to the perfect inspirational landscape (an area that’s probably had more Viking footprints on its beaches than those of modern day visitors).
Anyone with a deep appreciation for music (traditional or otherwise) and natural beauty should take the time(lessness) to visit both.
Ross Muir
FabricationsHQ