Taylor made festivities
Live@Troon (featuring Martin Taylor), September 9th-11th 2011
Ayrshire is doing all right for itself as regards music events, thank you very much.
Not only does it look like the Darvel Music Festival will be continuing in some shape or form (after an uncertain future as reported earlier in the year), Ayr’s Burns an’ a’ That! music, arts & culture festival just celebrated its tenth anniversary.
Other music weekends such as the Dundonald Music Festival (now establishing itself as an annual event) and this year’s inaugural Kilmarnock Fair Festival would seem to indicate Ayrshire is in good musical hands.
Another newcomer, but one already establishing itself as a well organised event with plenty of musical variety and name acts is Live@Troon.
The second annual Troon festival took place over the weekend of the 9th, 10th and 11th of September and featured name acts, local talent, newcomers, workshops and free music performances in the local pubs (the latter always a popular win-win).
Like the Darvel Music Festival this is a voluntary run event that starts with, and relies on, the work and efforts of the Festival Committee, chaired by Stephen Vallance.
And a fine job Stephen, the committee, festival sponsors, the volunteers and performing artists did too.
Outside of the free music and various musical education and song-writing workshops that ran throughout the weekend, there were two main centres of attraction…
The Su Casa Beach Tent offered fantastic value for money (just £5 a day entrance fee), offering live music from the afternoon to early evening, with around a dozen bands or artists performing on both the Saturday and Sunday.
Hosted by Ayr’s Su Casa café, well known for promoting and hosting live music, the Beach Tent events provided an excellent opportunity to hear some of the best of Scotland’s unsigned talent and each day culminated with a performance from artists already making a name for themselves.
Little Fire was Saturday’s featured artist and is already a noted performer around Ayrshire and further afield, with TV and Radio appearances also under his belt.
Little Fire (aka Jamie McGeechan) was also a highlight of the final night of the Burns ‘an ‘a That! festival back in May.
Sunday’s featured act was The Imagineers, another band on the rise and making a name for themselves across the country.
The other featured events were the various shows held at the Troon Concert Hall, with four concerts running over the weekend.
The Dave Anderson Big Band and Sound Over Silence were the featured Sunday afternoon and evening acts respectively, while The Saw Doctors headlined Saturday evening’s entertainment.
But with the greatest of respect to all the artists that performed over the three days, the opening night of Live@Troon 2011, and its headliner, was the main attraction for most music fans...
Friday evening’s Concert Hall show featured four acts and each brought something a little different to the stage.
We had solo acoustic, group acoustic, Cajun/ bluegrass and solo electric jazz & pop instrumental with the latter arguably unsurpassed as regards musicality and ability.
Sean Kennedy opened proceedings with a 25 minute set of acoustic numbers, many self penned. Sean was also a featured performer in the Su Casa Tent but the Concert Hall performance allowed his songs to be presented to a large and appreciative audience. Not only did he show he can perform on a bigger stage, there is no question he can write a nice tune or three, as confirmed by songs like ‘Maybe Angels’ and ‘Drifting.’
Alan Frew is a local lad who is also part of the Live@Troon committee.
The Alan Frew Band feature the talented singer songwriter accompanied by Jenna Thompson on acoustic bass and, in this instance, Alan’s sister Maryann on acoustic guitar and vocals (standing in for Gianna Cassidy). Maryann Frew was another who performed at the Su Casa Tent.
Alan’s album, Go Easy, is perfectly titled. Containing well written, warm, easy on the ear acoustic based tunes, it’s a ridiculously accomplished release for a debut.
A number of songs from Go Easy featured in the set, with highlights including ‘Denise,’ the delightful ‘Moonchild ‘(written by Alan’s father Ian) and the title track performed solo by Alan.
I tend to steer clear of bluegrass and many forms of country, but there are exceptions.
The quirky but captivating bluegrass and Cajun of Jimmy Wolfe (band name, not an individual) is infectious and impossible not to appreciate in the live environment.
Featuring the talents of noted and award-winning harmonica player Stuart Farquharson, the five-piece also feature guitars, accordion or fiddle, double bass and… washboard.
Yes indeed. Just seeing this band walk on the stage announces you are in for some Cajun lickin’ fun. And fun was the operative word with the whole audience involved from the get-go, clapping, whooping and stomping along to such wonderfully titled tunes as ‘The Flumps,’ ‘Capo One’ and the closer ‘Mojo Park.’
Jimmy Wolfe were a complete contrast to the headline act, as was the audience, who sat in quiet awe and appreciation of the six-string talents of Martin Taylor.
It’s one thing for fans, critics and those appreciating a special talent to heap praise on an artist, but when the plaudits come from your musical peers you know you’re doing something right.
And when the comment “Martin Taylor is one of the most awesome solo guitar players in the history of the instrument” comes from Pat Metheny, you know you’re doing something very few others can do.
Martin Taylor is one of the world’s finest solo/ jazz guitarists and his set at Troon reconfirmed that fact in no uncertain terms.
Whether it be his wonderful jazz interpretations of Great American Songbook classics like Gershwin’s ‘They Can’t Take That Away From Me’ or playing tribute to Robert Burns with his beautiful, understated rendition of ‘Ae Fond Kiss,’ Taylor covers all the bases.
Well not so much all the bases as all the bass lines (including a ridiculously fast double-time bass line on ‘I Got Rhythm,’ another Gershwin classic).
And the melodies. And the occasional rhythmic tone underneath.
And the polyrhythm showcase tune that is a highlight of any Martin Taylor show – five parts played with only one guitar and, as far as I could see, only two hands. While talking to the audience.
Stunning, and all part of the reason why Martin Taylor has the unique ability of being able to encourage young wannabe musicians to pick up a guitar while many others, who already play the instrument, stick it back in a cupboard after watching him play.
It wasn’t just the tunes that entertained and captivated – Taylor also kept the audience amused with anecdotes or humorous tales between songs.
Subjects included how his father played Troon Concert Hall when Taylor Jnr. was a young boy and Martin’s later time in Ayrshire when he founded the Kirkmichael International Guitar Festival (another great Ayrshire music event, which ran for six years).
I started my review of Martin Taylor’s set by saying how the audience sat in quiet appreciation of such a brilliant musician but sadly that’s not 100% accurate and brings me to the only complaint I had about the festival.
And one that appears at similar shows with an alarming regularity.
The Concert Hall had a licensed bar open throughout the performances.
This is not uncommon and with many festival events or club and theatre gigs needing all the financial help they can get it’s a guaranteed way to generate cash.
Such events probably sell more beers than the artists do t-shirts.
But the obvious and unfortunate outcome is to have loud voices talking over acts, and when the noise is drowning out introductions and quieter performances by the likes of Martin Taylor… unacceptable, ill-mannered and disrespectful.
Fortunately such behaviour is not tolerated for long and between volunteer staff having a word and a few firmer and far more colourful words from various audience members, normal services were resumed. For the most part.
That said, a period of beer-induced noise from a handful of lackwits is a very small price to pay to have the privilege of seeing and hearing Martin Taylor going about his musical business.
Nice one, Martin. And nice one Live@Troon 2011. Here’s to the next one.
But see if you can do it without having a bar open during the performances.
Ross Muir
September 2011
Live@Troon (featuring Martin Taylor), September 9th-11th 2011
Ayrshire is doing all right for itself as regards music events, thank you very much.
Not only does it look like the Darvel Music Festival will be continuing in some shape or form (after an uncertain future as reported earlier in the year), Ayr’s Burns an’ a’ That! music, arts & culture festival just celebrated its tenth anniversary.
Other music weekends such as the Dundonald Music Festival (now establishing itself as an annual event) and this year’s inaugural Kilmarnock Fair Festival would seem to indicate Ayrshire is in good musical hands.
Another newcomer, but one already establishing itself as a well organised event with plenty of musical variety and name acts is Live@Troon.
The second annual Troon festival took place over the weekend of the 9th, 10th and 11th of September and featured name acts, local talent, newcomers, workshops and free music performances in the local pubs (the latter always a popular win-win).
Like the Darvel Music Festival this is a voluntary run event that starts with, and relies on, the work and efforts of the Festival Committee, chaired by Stephen Vallance.
And a fine job Stephen, the committee, festival sponsors, the volunteers and performing artists did too.
Outside of the free music and various musical education and song-writing workshops that ran throughout the weekend, there were two main centres of attraction…
The Su Casa Beach Tent offered fantastic value for money (just £5 a day entrance fee), offering live music from the afternoon to early evening, with around a dozen bands or artists performing on both the Saturday and Sunday.
Hosted by Ayr’s Su Casa café, well known for promoting and hosting live music, the Beach Tent events provided an excellent opportunity to hear some of the best of Scotland’s unsigned talent and each day culminated with a performance from artists already making a name for themselves.
Little Fire was Saturday’s featured artist and is already a noted performer around Ayrshire and further afield, with TV and Radio appearances also under his belt.
Little Fire (aka Jamie McGeechan) was also a highlight of the final night of the Burns ‘an ‘a That! festival back in May.
Sunday’s featured act was The Imagineers, another band on the rise and making a name for themselves across the country.
The other featured events were the various shows held at the Troon Concert Hall, with four concerts running over the weekend.
The Dave Anderson Big Band and Sound Over Silence were the featured Sunday afternoon and evening acts respectively, while The Saw Doctors headlined Saturday evening’s entertainment.
But with the greatest of respect to all the artists that performed over the three days, the opening night of Live@Troon 2011, and its headliner, was the main attraction for most music fans...
Friday evening’s Concert Hall show featured four acts and each brought something a little different to the stage.
We had solo acoustic, group acoustic, Cajun/ bluegrass and solo electric jazz & pop instrumental with the latter arguably unsurpassed as regards musicality and ability.
Sean Kennedy opened proceedings with a 25 minute set of acoustic numbers, many self penned. Sean was also a featured performer in the Su Casa Tent but the Concert Hall performance allowed his songs to be presented to a large and appreciative audience. Not only did he show he can perform on a bigger stage, there is no question he can write a nice tune or three, as confirmed by songs like ‘Maybe Angels’ and ‘Drifting.’
Alan Frew is a local lad who is also part of the Live@Troon committee.
The Alan Frew Band feature the talented singer songwriter accompanied by Jenna Thompson on acoustic bass and, in this instance, Alan’s sister Maryann on acoustic guitar and vocals (standing in for Gianna Cassidy). Maryann Frew was another who performed at the Su Casa Tent.
Alan’s album, Go Easy, is perfectly titled. Containing well written, warm, easy on the ear acoustic based tunes, it’s a ridiculously accomplished release for a debut.
A number of songs from Go Easy featured in the set, with highlights including ‘Denise,’ the delightful ‘Moonchild ‘(written by Alan’s father Ian) and the title track performed solo by Alan.
I tend to steer clear of bluegrass and many forms of country, but there are exceptions.
The quirky but captivating bluegrass and Cajun of Jimmy Wolfe (band name, not an individual) is infectious and impossible not to appreciate in the live environment.
Featuring the talents of noted and award-winning harmonica player Stuart Farquharson, the five-piece also feature guitars, accordion or fiddle, double bass and… washboard.
Yes indeed. Just seeing this band walk on the stage announces you are in for some Cajun lickin’ fun. And fun was the operative word with the whole audience involved from the get-go, clapping, whooping and stomping along to such wonderfully titled tunes as ‘The Flumps,’ ‘Capo One’ and the closer ‘Mojo Park.’
Jimmy Wolfe were a complete contrast to the headline act, as was the audience, who sat in quiet awe and appreciation of the six-string talents of Martin Taylor.
It’s one thing for fans, critics and those appreciating a special talent to heap praise on an artist, but when the plaudits come from your musical peers you know you’re doing something right.
And when the comment “Martin Taylor is one of the most awesome solo guitar players in the history of the instrument” comes from Pat Metheny, you know you’re doing something very few others can do.
Martin Taylor is one of the world’s finest solo/ jazz guitarists and his set at Troon reconfirmed that fact in no uncertain terms.
Whether it be his wonderful jazz interpretations of Great American Songbook classics like Gershwin’s ‘They Can’t Take That Away From Me’ or playing tribute to Robert Burns with his beautiful, understated rendition of ‘Ae Fond Kiss,’ Taylor covers all the bases.
Well not so much all the bases as all the bass lines (including a ridiculously fast double-time bass line on ‘I Got Rhythm,’ another Gershwin classic).
And the melodies. And the occasional rhythmic tone underneath.
And the polyrhythm showcase tune that is a highlight of any Martin Taylor show – five parts played with only one guitar and, as far as I could see, only two hands. While talking to the audience.
Stunning, and all part of the reason why Martin Taylor has the unique ability of being able to encourage young wannabe musicians to pick up a guitar while many others, who already play the instrument, stick it back in a cupboard after watching him play.
It wasn’t just the tunes that entertained and captivated – Taylor also kept the audience amused with anecdotes or humorous tales between songs.
Subjects included how his father played Troon Concert Hall when Taylor Jnr. was a young boy and Martin’s later time in Ayrshire when he founded the Kirkmichael International Guitar Festival (another great Ayrshire music event, which ran for six years).
I started my review of Martin Taylor’s set by saying how the audience sat in quiet appreciation of such a brilliant musician but sadly that’s not 100% accurate and brings me to the only complaint I had about the festival.
And one that appears at similar shows with an alarming regularity.
The Concert Hall had a licensed bar open throughout the performances.
This is not uncommon and with many festival events or club and theatre gigs needing all the financial help they can get it’s a guaranteed way to generate cash.
Such events probably sell more beers than the artists do t-shirts.
But the obvious and unfortunate outcome is to have loud voices talking over acts, and when the noise is drowning out introductions and quieter performances by the likes of Martin Taylor… unacceptable, ill-mannered and disrespectful.
Fortunately such behaviour is not tolerated for long and between volunteer staff having a word and a few firmer and far more colourful words from various audience members, normal services were resumed. For the most part.
That said, a period of beer-induced noise from a handful of lackwits is a very small price to pay to have the privilege of seeing and hearing Martin Taylor going about his musical business.
Nice one, Martin. And nice one Live@Troon 2011. Here’s to the next one.
But see if you can do it without having a bar open during the performances.
Ross Muir
September 2011
