This is the first full-length instrumental recording for Kate MacLeod, an award-winning singer-songwriter, and acclaimed violin player and composer. Her previous vocal recordings have always included a few instrumental tracks, but as much as I enjoy her singing, I always wanted to hear more of her violin playing. Now I have that opportunity in a single long-awaited recording.
Classically trained, Kate has played violin for fifty years. This project grew out of her first artist-in-residence program with the Entrada Institute in Wayne County, Utah. She calls these pieces “viofiddle” music because they combine two widely different styles of music – classical and folk – into a seamless new musical amalgam. These original compositions reflect her love of Earth (Terra) as seen in the landscape of the Utah desert and other places – “I looked at the world with my violin in hand, at the rocks, the rivers, the sky and the sand… and these tunes are what my violin said.” The titles reflect certain locations and themes, which are well reflected in the music.
Kate assembled a sterling cast of musicians to accompany her, including many who live in the region and those who have inspired and collaborated with her: Darol Anger, Kevin Burke, Kat Eggleston, Skip Gorman, Mark Graham, Larry Lawson, Christopher Layer, Otter Creek, Dylan Schorer, James Scott, Robin Spielberg, and 3Hattrio.
The album begins with Blue Sky Blue Prelude, a lavishly arranged ‘new music-experimental’ composition accompanied by 3Hattrio, a band from the deserts of southern Utah. This sets the tone for the remaining tracks. Maxfield Parriah Sky – accompanied by Christopher Layer on whistle, Skip Gorman on mandolin and James Scott on guitar – has a very airy feel of open sky. The Land Before Man/Iowa Hills/Blow Me Down Brook – accompanied by Skip Gorman on harmonica and James Scott on guitar – is a set of three very lyrical tunes which relate to geography in an American and Celtic setting. The Oregon Trail – accompanied by Kevin Burke on fiddle, Mark Graham on harmonica, and Kat Eggleston on guitar – is an old-time-sounding tune which evokes a campsite scene along the Trail. Sand in Breeze/Sunrise on the Colorado Plateau/Desert Rain – accompanied by James Scott on guitar and Robin Spielberg on piano – is another set of three tunes which evoke the phenomena of breeze, sunrise and rain in the desert. Listening to these tunes, my imagination carries me along as they embrace these scenes. Assonet Bay is very lyrical, like an Irish air, contemplative, with a subtle accompaniment by Catherine Bent on cello. The Train Across the Great Salt Lake – accompanied by Otter Creek (acoustic guitar and harmony fiddle) – has a bluegrass/old-time style, creating the impression of a train slowly starting, gaining speed, and finally slowing to a stop – a very pleasant little journey. Ice on Lake Mohonk/The Mohonk Jig – accompanied by James Scott on guitar and Robin Spielberg on piano – consists of a lyrical tune followed by a jaunty Celtic jig. The Moon and Mount Rainier/Arriving Vashon – accompanied by Mark Graham on harmonica, Kat Eggleston on guitar and Larry Lawson on whistle – is another set of lyrical tunes relating to the Pacific Northwest. Apology to the Native Rock is very moving lament accompanied by Dylan Schorer on electric guitar. The recording ends with Let the Dove Come In, the only vocal by Kate, with Darol Anger on fiddle. This is derived from a traditional spiritual, and is a very joyful end to a fine collection of instrumental compositions.
All together this is a beautiful collection of instrumental pieces, composed and played by Kate MacLeod on violin, accompanied by many of her musical friends. Highly recommended.
Stewart Hendrickson
Note: Sound samples on Waterbug Records