Ian Mann enjoys this “Transatlantic Folk” double bill featuring the contrasting but complementary talents of local vocalist and songwriter Deborah Rose and New York singer songwriter Kenny White.
Rose has been a regular presence on the Jazzmann web pages for a number of years. Blessed with a stunningly pure voice and an innate musicality her love of words, song and singing has found her exploring the worlds of folk, jazz and Americana with a variety of collaborators, including local gypsy jazz guitar wizard Remi Harris, another artist who is due to feature on the Fringe Festival programme.
Deborah Rose is an established presence on the UK folk scene, an ethereal vocal talent owing more in spirit to the late, great Sandy Denny than the commercial sound of Laura Marling or her stadium folk peers. And it’s the voice of this Welsh-born but Severn Valley resident songstress that rings clear and transcendent, unifying these ten trad-folk, country, bluegrass and Celtic folk ballads into a coherent whole. A whole which breathes new, searching green life into the deep roots of standards like Cuckoo, Little Maggie â and the Merle Haggard signature If Only I could Fly.
This whole release has an an unhurried, effortless but verdant beauty, which perhaps also reflects the vast experience and technical skill of the collaborators here. Including as they do the The OâFarrells Frolicks (better known to most of you as sisters Hetti & Mari Randle of Vault of Eagles plus mum Lindsey and sister Lucy), Ludlow’s Greywolf, and one Mr Robert Plant. The presence of the man from Shatterford is subtle, and vocally unrecognisable. But is unmistakeable in the quietly trans- Atlantic feeling and flawless arrangement of the first five tracks (on which he is listed simply as backing vocalist), such as the exquisite opener Bright Morning Star.
The second half of this album takes matters deep into the mists Gaelic folk territory. Ballads like Danny Boy, Little Beggar Man and The Sky Boat Song being given bright, fresh- sounding treatments. Again Deborah Rose’s singular voice weaves into the crisp instrumentation with precision, the traditional pipes and flutes being deployed with consideration and never being overstated as they sometimes can. There is also little of the fey or the whimsical about these interpretations. Indeed, perhaps the stand out of the entire album is the crystalline- sharp take on the luminous W B Yeats-esque imagery and dark folk memory of Foggy Dew, a spiritual giant of a song that exemplifies the timeless emotional power of folk at its very best.
D B Schenker, Slap Magazine
SLAP Magazine, Page 35 – View Original
It’s a year now since Welsh songstress Deborah Rose launched her last album, Song Be My Soul, at Artrix. It was an unforgettable evening which highlighted her considerable ability to evoke images through the purity of her voice and some brilliantly crafted lyrics. So we were delighted when she announced her plans to launch her next album, Wilde Wood, at Artrix on 5 March.
The last year or so seems to have been great in terms of musical experimentation for Deborah. A chance meeting with the O’Farrells Frolicks in a cafe in Bewdley has worked out really well for her. The girls, who consist of Hetty, Mari and Lucy Randle and Lindsay Farrell are talented vocalists and multi-instrumentalists (Mari and Hetty both play with SLAP favourites Vault of Eagles) and having sung a few songs with them, Deborah decided to work with them on an album of Celtic songs. More serendipity followed when she met
Grey Wolf, who are based in Ludlow, through Eva Cassidyâs brother Dan and her decided to work with them as well. Although Deborah reckons the musical sessions with the boys were accompanied by bottles of wine as opposed to cups of tea with the girls!
Deborah began her set alongside Matt Worley with Taigh Alainn and
Lady of Shallot, both favourites from her previous album, before the girls joined her on stage for the evocative Skye Boat Song which tells the story of Bonnie Prince Charlie’s escape to the Isle of Skye. It was great to see how much Deborah has evolved musically as a result of her new collaboration. Her voice dipped and soared like a bird in flight in the stunning Foggy Dew against a backdrop of Mari’s gorgeous vocals and Lindsay Farrell’s whistle and bodhran. Dance of the Rabbits, a French jig, soon had the audience tapping their toes and clapping along, as did a lively interpretation of Rocky Road to Dublin. A haunting version of Bob Dylan’s One More Cup Of Coffee contrasted brilliantly with a catchy number called Little Beggar Man which the audience loved. The first half closed with Matt returning to accompany Deborah for a beautiful version of Autumn Leaves in tribute to Eva Cassidy, a major source of inspiration to her.
The second set kicked off with Ludlows Grey Wolf, an Americana trio consisting of Ben Walsh, Banjo Jim (Allen) and Martin Thomas on stage. They began with the fast-paced Orange Blossom Special before Deborah joined them for a lovely version of Bright Morning Star. Jim Allen’s outstanding banjo playing didn’t fail to disappoint, particularly in Cuckoo, and the band played a brilliant version of Raleigh and Spencer before Deborah rejoined them for the sweet but sinister murder ballad Banks of the Ohio.
The set ended with the fabulous Little Maggie showcasing both Deborah’s vocal skills and Grey Wolf’s wonderful instrumentation.
The audience, naturally, demanded an encore at which point I had a quiet chuckle to myself because I guessed what might be coming when Deborah announced she had a special guest. I’d spotted a certain Robert Plant earlier, always a welcome visitor to Artrix, and we’d been hoping he might make an appearance. A great night got even better as he stepped out on stage, the audience went mad, and he sang Love Hurts with Deborah. Rolling his eyes ironically when he sang the line âI’m Young, I Knowâ, he had the crowd in stitches. More group encores, with Plant playing guitar at the back, followed and were greeted with rapturous applause. It was a brilliant night and all credit goes to Deborah for managing to organise the gig and perform so well.
Words: Rosie Hamilton, Slap Magazine
Photography: Ross Woodhall
SLAP Magazine, Page 34 – View Original
Deborah Rose launches her new album “Wilde Wood” by performing with two different line ups and singing with a very special guest. A celebration of local talent and a triumph for all concerned.
Welsh born, Worcestershire based singer, guitarist and songwriter Deborah Rose has been a frequent presence on the Jazzmann web pages for a number of years, sometimes under her previous name of Deborah Hodgson. Blessed with a stunningly pure voice and an innate musicality her love of words, song and singing has found her exploring the worlds of folk, jazz and Americana with a variety of collaborators including local gypsy jazz guitar wizard Remi Harris.
Following a number of self produced EPs Rose released her first full length album, âSong Be My Soulâ, in early 2014, a charming collection of self penned songs combined with settings of the words of poets and authors such as Tennyson, Shakespeare, Dickens, Blake and Christina Rossetti.
The follow up, âWilde Woodâ couldnât be more different as Rose abandons her literary leanings and explores the world of Celtic folk music in the company of locally based musicians from two different groups, The Oâ Farrells Frolicks and Grey Wolf.
The Oâ Farrells are an all female family folk group based in Bewdley, Worcestershire. Mother and multi intrumentalist Lindsay Farrell (whistles, bodhran, fiddle, accordion), is joined by her three talented daughters Mari Randle (guitar, vocals), Hetty Randle (banjelele, ukelele) and Lucy Randle (melodeon, concertina). The familyâs roots in Co. Cork are reflected in their love of Irish traditional music and the quartet play regular gigs and sessions in the pubs of Worcestershire and the West Midlands. But the Randle sisters are more than just friendly folkies, Mari (guitar, vocals) and Hetty are also part of the alternative rock trio Vault Of Eagles where Hetty plays electric bass alongside powerhouse drummer Scott Ewings .The music is loud, grungy and heavy and the trio have built up a considerable following.
Grey Wolf are an acoustic trio based in Ludlow, Shropshire who specialise in âold timeâ Americana, particularly the folk music of the Appalachians, much of which was descended from the music of Scottish and Irish settlers, thus maintaining that all important Celtic connection. Beginning as a duo featuring Martin Thomas (guitar, mandolin, vocals) and Jim Allen aka Banjo Jim (banjo, guitar, vocals) the group have developed rapidly since their inception, widening their repertoire, adding the services of fiddler Ben Walsh and recording a full length album entitled âRed Eyeâ. Like Rose herself Allen is a skilled organiser and used to co-ordinate The Floor, the much missed monthly musical review that used to take place at St. Michaels Village Hall near Tenbury Wells. An early incarnation of Grey Wolf often supported such top quality headliners as Rose, Remi Harris, blues guitarist/vocalist Eddie Martin and Oysterband guitarist Alan Prosser.
Prior to the recording of âWilde Woodâ Rose rehearsed intensively but separately with both groups. Refreshments during the rehearsals with the OâFarrells tended to be tea and cakes (well they did first meet in a coffee shop in Bewdley) while the Grey Wolves preferred something a little stronger, usually red wine or even a bottle of brandy. The album occasionally features members of both groups playing alongside each other although in the main it divides into OâFarrells songs and Grey Wolf songs and the record also includes backing vocals by a very special guest but Iâll come to that later. The material is mainly comprised of well known tunes, many of them folk club staples, but the joyousness and spontaneity of the performances plus the undoubted quality of Roseâs voice ensures that it still makes for a very rewarding listen. Given her folk background I was rather surprised at how many of these tunes were actually new to Rose, but perhaps thatâs what helps to keep the music fresh.
Tonightâs show at Artrix, Bromsgroveâs flourishing theatre and arts centre was the official launch date for the album. Rose is a performer who is much loved in her local area and the auditorium was virtually sold out with many of the singerâs friends and family present in the crowd. You could feel the goodwill. Virtually all the material from âWilde Woodâ was performed together with a couple of favourite songs from âSong Be My Soulâ plus various items from the repertoires of both the OâFarrells and the Grey Wolves.
Deborah Rose remained on stage for almost the entire performance which began in a duo format with Rose accompanied by the burly, tattooed figure of Matt Worley, aka Matt The Stringman. Worley is the proprietor of Strings & Things, a guitar shop in Stourport on Severn and is also involved in a project to restore the former Swan Hotel in Stourport as a music venue. He proved to be a most supportive and sympathetic foil to Roseâs crystalline voice as she sang âTaigh Allainnâ (Gaelic for âHouse Beautifulâ) and âLady of Shallotâ, two of her favourite items from âSong Be My Soulâ, the former a paean to the peace and solitude of the Scottish Hebrides, the latter a setting of Tennysonâs words by Rose and Worcester based pianist Ian King.
The Stringman departed to be replaced by The OâFarrells Frolicks as Rose began to concentrate more on the âWilde Woodâ repertoire. A lovely version of the traditional âSkye Boat Songâ featured banjalele, whistle and concertina with Roseâs pure vocal emphasising the gravity of the sometimes horrific lyrics (claymores, the dead of Culloden etc.)
The arrangement”Foggy Dewâ, a traditional Irish tune with lyrics inspired by the 1916 Easter Rising featured guitar, banjalele and melodeon plus Lindsay Farrell moving from whistle to bodhran and Mari Randle adding harmony vocals. as the song gained impetus.
Lindsay Farrell played fiddle on an as yet unrecorded arrangement of âScarborough Fairâ, combining well with daughters Mari on guitar and Lucy on concertina as Rose delivered the lyrical litany of impossible tasks.
âHandsâ, written by Jewel Kilcher was performed as a duet with Mari Randle with both musicians playing guitar and combining on the vocal harmonies. The American born Kilcher who performs under the single name of Jewel is something of a polymath, a singer, songwriter, actress, author and activist. Rose has named her as a significant influence upon her own music making.
The lively âDance Of The Rabbitsâ, a French jig that somehow found its way to Ireland and thence to Bewdley demonstrated the instrumental abilities of the OâFarrells with Lindsay and Lucy on twin squeeze boxes, accordion and melodeon respectively. âRocky Road To Dublinâ then featured the lead vocals of Mari Randle on a second item from the Frolicks repertoire.
Deborah Rose and Mari Randle then shared the vocals on a cover of Bob Dylanâs âOne More Cup Of Coffeeâ, a more pared down, less apocalyptic version of the original. The song also featured a fiddle solo from Lindsay Farrell who plays with the instrument resting on her knee rather than under the chin in the classical manner. Itâs the kind of rustic approach that I seem to recall also being deployed by Norwegian Hardanger fiddlers.
This section of the performance closed with a playful romp through the traditional Irish tune âThe Little Beggar Manâ with Roseâs wistful vocals extolling the virtues of the travelling life to the breezy backing of whistle and melodeon. A rather different, very raucous, version of this tune complete with a soupcon of electronica appears as the bonus track on Newfoundland folk rockers Great Big Seaâs 1997 album âPlayâ
To close the first set Matt the Stringman returned to accompany Rose on her beautiful interpretation of the jazz standard âAutumn Leavesâ delivered in the style of the late Eva Cassidy – alongside Judy Collins one of Roseâs key musical inspirations.
The second half began with the Grey Wolf trio who opened with a breezy âold timeâ style instrumental featuring fiddle, guitar and banjo. Allen then switched to guitar and Thomas to mandolin, the latter also handling the lead vocal on âOrange Blossom Specialâ, one of several âold train songsâ in the trioâs repertoire.
Rose then joined the trio to sing a version of the traditional spiritual âBright Morning Starâ, a song I know best from Oysterbandâs accapella rendition on their 2002 album âRise Aboveâ. Featuring guitar, banjo and fiddle and with Thomas and Allen sharing the vocal this version was substantially different and deployed a slightly different lyric to the Oysters version.
Next came âCuckooâ, a traditional Appalachian song, sometimes known as âJack of Diamondsâ. This piece offered a good demonstration of Allenâs banjo skills, heâs now considered to be one of the best exponents of the frailing and clawhammer styles in the country and is a respected teacher of the instrument.
âBlackwatersideâ is an absolute folk staple (again I love the Oysterband version) and has been extensively recorded my many leading figures of the genre. With her beautiful voice Rose was still able to bring something fresh to this enduring folk classic.
Martin Thomas took over the vocal duties for âRaleigh and Spencerâ , a tale of gluttony and alcohol in two towns in North Carolina and West Virginia. Fiddler Ben Walsh also showed up well. Like Mari and Hetty Randle heâs another musician with a double life thanks to his role with the electro folk band Plaid.
Rose resumed vocal duties for âIf I Could Only Flyâ, a song written by Blaze Floey and made famous by Merle Haggard. With Thomas playing keening slide guitar this piece took Rose and Grey Wolf deeper into conventional Nashville style country territory.
The traditional âBanks Of The Ohioâ was once a hit Olivia Newton John. A cheerfully melodic song with a grisly lyric the Grey Wolves suggested that it was probably âthe sweetest murder ballad everâ. Roseâs voice combined with those of Thomas and Allen in an accapella section and there was also a fiddle solo from the impressive Walsh who has done much to enhance the Grey Wolf sound. As a group theyâve improved hugely from those early days at The Floor and have clearly developed a strong following for their respectful and authoritative approach to traditional American music.
A segue of âMrs McLeodâs Reelâ and âSandy River Belleâ offered the Grey Wolves the opportunity to demonstrate their instrumental chops before Walsh switched to mandolin and Allen and Thomas both took up guitars as Rose sang the wistful âLittle Birdâ.
The traditional staple âLittle Maggieâ then ended the set on an energetic note with Thomas switching between guitar and mandolin and Allen again demonstrating his banjo credentials with an absorbing solo.
As stated previously there was a lot of love in the hall and an encore was almost inevitable as the audience gave the performers a terrific reception. What happened next was almost certainly a complete surprise to almost everybody. Led Zeppelin vocal legend Robert Plant took to the stage to sing in duet with Rose on the old pop hit âLove Hurtsâ with Worley accompanying them on guitar. I knew that Rose and Plant were well acquainted, heâd been in the audience at one her previous shows at this venue, but even so I wasnât expecting this. I never though Iâd ever see Robert Plant sing live, I missed out on Led Zep back in the day and there was no way I could afford the re-union tickets so this was an incredible bonus. When Plant got to the line âIâm Young, I Knowâ he rolled his eyes theatrically and instigated a laugh out loud moment which endeared him to everybody even more.
Iâve never met Robert Plant but heâs a great supporter of local music and always seems a thoroughly decent chap. When I attended a charity event organised by Rose at the Regal in Tenbury Wells on 2014, a show that also featured the OâFarrellâs, he sent along a load of signed merchandise for the raffle – and no, I wasnât lucky enough to win anything. I think heâd actually been scheduled to play then but was instead obliged to make a live TV appearance on The One Show on the same evening.
Plant stuck around playing guitar at the back as the whole ensemble returned for a couple of celebratory group encores but was magnanimous enough to leave the stage and let Rose and her musicians take their well deserved curtain calls. He adds backing vocals to three of the ten tracks on âWilde Woodâ, which will doubtless increase its appeal even more
But tonight was essentially a celebration of local talent and the vibrancy of the music scene in this part of the Midlands. Plantâs contribution was just the icing on a very tasty cake. Even without him this had been a very satisfying evening of music and a triumph for all concerned.
Deborah Rose is now set to take her âWilde Woodâ show to the Regal in Tenbury Wells on Saturday 6th June 2015 with OâFarrells Frolicks and Grey Wolf again appearing. I donât think there are any guarantees about Robert Plant though.
WILDE WOOD TRACK LISTING;
1. Bright Morning Star
2. Banks Of The Ohio
3. Blackwaterside
4. cuckoo
5. If I Could Only Fly
6. Foggy Dew
7. Skye boat Song
8. Little Maggie
9. Danny Boy
10. Little Beggar Man
Available from https://www.deborahrose.co.uk
Reviewed by: Ian Mann – http://www.thejazzmann.com/reviews/review/deborah-rose-the-ofarrells-frolicks-grey-wolf-artrix-bromsgrove-worcs-05-03/
Photograph by Wayne Fox
Deborah Rose gets an Artist Page on Bob Harrisâs website.⊠click here to view
