Review Sam Lee In south-andaman, andaman-and-nicobar-islands, india | Music In South Andaman
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Sam Lee
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Detailed description is Folk Singer, Mercury prize nominee, critically acclaimed NEW ALBUM 'The Fade In Time' out now: order it here: http://bit.ly/FadeinTime.
.How many traditional English folk singers do you know who come from North London, studied at Chelsea School of Art, worked as a forager and wilderness expert while moonlighting as a burlesque dancer – until a chance encounter led to the door of the great Scottish Traveller singer Stanley Robertson, and an extraordinary four-year apprenticeship into the arcane, living world of traditional song that few outside the Traveller and Gypsy communities have ever experienced?.
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Since bursting on to the folk scene at the end of the Noughties, Sam Lee has blazed a trail as an outstanding singer and song collector.
He’s also been the driving force behind the eclectic, award-winning folk club The Nest Collective, which has brought traditional music to all kinds of new stages and venues, as well as the founder of a burgeoning song collectors’ movement that inspires a new generation of performers to draw on living source singers rather than books and records..
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Lee is a 21st-century artist, collecting new versions of old songs on his iPhone and laptop, but his repertoire is steeped in the reek and smoke of folk history and lore, its tales of love, parting, exile and murder bound by a sympathetic magic still resonant today, parting the veil on vivid scenes from our islands’ deep history..
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Awarded the 2011 Arts Foundation prize and nominated for the 2012 Mercury Award for his debut album, ‘Ground Of Its Own’, he has taken his music worldwide to more than 20 countries, appeared in ‘Peaky Blinders’ on TV, and joined The Unthanks to commemorate the Great War at the Barbican in London.
Lee reached an even larger audience with his performance of ‘The Tan Yard Side’ to the accompaniment of a nightingale on Radio 4 on 19 May 2014.
This remarkable recording marked the 90th anniversary of the first-ever outside broadcast of ‘Singing with the Nightingales’ by cellist Beatrice Harrison on 19 May 1924..
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Sam Lee and his band comprise cellist Francesca Ter-Berg, trumpeter Steve Chadwick, violinist Flora Curzon, percussionist Josh Green and koto player Jonah Brody.
They entered Imogen Heap’s Hideaway Studio in Essex with Penguin Cafe’s Arthur Jeffes and Jamie Orchard-Lisle as co-producers, and spent three months laying down tracks and layering music for Sam’s new album, The Fade In Time.
“There were a huge amount of toys and instruments to play with at Imogen's,” says Lee.
“We had these tools at hand, a lot of percussion, big drums.
We didn't go in with an agenda.
It was taking the live band and seeing how we could expand on that, layering the strings to make it more orchestral, thickening up the brass.”.
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Impassioned and hugely ambitious in scope, The Fade In Time is a major statement from an artist and group extending the borders of their music beyond its national boundaries to encompass Bollywood beats, Polynesian textures and contemporary classical music.
From the blaring brass and martial drums of opening track, Johnnie O the Brine through to the softly closing account of The Moss House, with just Sam’s voice and Arthur Jeffes’ beautifully minimalist, elegant piano, the instrumental textures and vocals –augmented by the Roundhouse Choir on Lovely Molly – make The Fade In Time a distinctive and radical reinterpretation of the British folk tradition..
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Several of its songs, including opener Johnnie O the Brine, were learnt from Lee’s mentor, Stanley Robertson.
It’s a tale of hunting, poaching, slaughter and magic, and to form its soundscape, “I wanted something with rhythm, punch and drama to it,” says Lee.
“I heard this tarantella approach, and the horns are hunting horns, inspired by Tajikistan.
wedding bands, spattering and spitting out these sounds.
They’re characters in the song,” he adds, “recreating this world of the green wood.” Lee recalls Robertson taking him to Monymusk in Aberdeenshire, where the story took place – its hero and his dogs in slumber after drinking the blood of the venison, and the sound of the foresters approaching.
“The connection I had, knowing where it came from, the hunting of the deer, the communion of drinking the blood,” says Lee.
“It has such poetry and romance.”.
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Also from Robertson comes the great ballad, Lord Gregory.
Lee’s version begins with an archive recording of Hamish Henderson with the singer Charlotte Higgins, an elder cousin of Robertson’s.
“It’s an old song, old and a long, long time ago’ says Higgins as Henderson coaxes the words from her, and you realise you’re putting an ear to something ancient, stories thought extinct but found alive and well in your own backyard.
“Stanley learnt it from his mother, who recited it as a poem,” says Lee.
“He’s condensed it with absolutely everything there is about rejection, love, conviction, forgiveness, empathy and compassion.
It’s the song I’m most proud of, singing-wise.
That’s the one I’m emotionally most connected to.
It’s the centre of the album.”.
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Poignantly, The Moon Shone By My Bed Last Night, was the last song Robertson taught Lee.
“It was the last song he’d learnt from his aunt, the great singer Jeannie Robertson,” says Lee.
“One day Stanley said to me, I want to teach you a song, and that was the one.
It holds a very special place for me.”.
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A classic song with its own special place in the tradition is The Blackbird, recast here with propulsive piano, strong percussion and a wall of brass.
“This is one of two songs on the album that I didn’t collect,” says Sam.
“It comes from May Bradley, a gypsy singer from Shropshire who was recorded in the 1950s.
“She has this amazing modal tune for it, unlike anyone else’s.
And lyrically, hers is so much more punchy and tenacious – about loving this soldier, being pregnant, being cast out by her community – ‘Let them go talking say what they will, while there’s breath in my body I’ll love my lad still’ – I just love that conviction.”.
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The powerful, condensed version of the famous Napoleonic song Bonny Bunch of Roses comes from Freda Black, an octogenarian gypsy singer Sam has visited many times on the Hampshire-Sussex borders.
As Lord Gregory began with the voices of Henderson and Higgins, so Bonny Bunch begins with an archive recording, an Eastern European cantor singer from whom Sam takes the lead as the band rises with a driving fife and drum accompaniment.
These and Lee’s own field recordings have a key role on the album.
At the close of Over Yonders Hill, a staple of the band’s set and a tragic lament that deals with herbal remedies and plant spirits, we have the voice of Freda Black reciting the song's verses to the soft metronomic sound of a clock in her sitting room, quietly reframing the expansive arrangements we’ve just heard against the raw nerve of the song’s source.
“I want to take listeners back to that magic land,” affirms Lee.
“It was such a dreamlike moment – you could hear the process of her remembering all these fragments jumbled in the deep past, and extracting them out of this stream of consciousness.” And the clock going in the background, time ticking away..
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Which brings us to the title, The Fade In Time.
“It just came to me,” says Lee, “It’s not something I’d heard elsewhere.
It’s the fade-in time, and the fading out that happens in time.
Which reflects the songs – what happens to this stuff; how it dissipates, disappears there and reappears here…” Steeped in drama, love, violence, lore and magic, all evoked with a charged mixture of imagination, ambition and experimentation, The Fade In Time roves the centuries and radically renews a living tradition, a delicate and richly embroidered ecosystem of song uncover.
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‘Ground Of Its Own’ : The Debut Album : Sam Lee 2012.
Mercury Nomination for Album of the Year.
BBC R2 Folk Award 3 nominations : Album & Singer of the Year + Best Traditional Song.
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“A wonderful singer and fascinating character.
He’s working with musicians in a very interesting and unusual way, his arrangements are unlike anything anyone has ever really heard before” Joe Boyd.
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“Ground of Its Own is wonderful.
The singing is sublime and exquisite! It’s gentle and despairing, trancelike and tender.
Strokes of genius there I think!” Shirley Collins.
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“When Sam Lee makes this record public he’s going to find himself with a success story on his hands” Fiona Talkington, Late Junction.
“This Mercury prize nominee continues to shake up the folk scene with this second album packed with drama and surprise.
Sam Lee again concentrates on traditional songs he learned from Gypsy travellers; they are performed in no-nonsense, almost crooned style, but with startlingly original settings...Surely one of the albums of the year.” (Robin Denselow, 5*, The Guardian, March 13, 2015 (UK)).
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“Sam Lee’s musical archeology might sound like a worthy project of interest only to be-jumpered folkies, yet this outstanding record deserves a wide hearing…no one is as daring as Lee…there’s never been a record quite like this.” (John Bungey, 4*, Mojo, April 2015 (UK)).
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“Lee’s baritone vocals are supple rather than wild, delivering time-honoured tales of love, estrangement and betrayal with engaging intimacy.
A wonderfully inventive creation.” (Neil Spencer, The Observer, March 2015 (UK)).
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“Sam Lee is Britain’s most inventive folk singer.
An important and powerful album from a remarkable singer’ (Simon Broughton, 4*, London Evening Standard, March 2015 (UK)).
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“Young folk hotshot Lee has contrived the perfect blend of traditional and modern.
Shaped with an expansive cast, these stunning rearrangements of traditional songs feature ravishing instrumentation, archive samples and incisive, spirit-awakening vocal performances from Lee himself.” (The Daily Mirror, 4*, March 2015 (UK)).
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“Sam Lee’s follow-up to the Mercury-nominated Ground of its Own continues to mine the songs he has collected by living with travelling people.
Producer Arthur Jeffes brings delicate textures, and when Lee hits a groove (as on ‘Lord Gregory’) the sound is timeless and hypnotic.” (Financial Times, 4*, March 2015 (UK)).
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“Most thrillingly, his light, floating tones recount the hunting tragedy ‘Jonny O’ The Brine’ over a mix of pulsing tuned-pipe percussion and skittish, fraught horns inspired by Tajik wedding bands, that resembles a sort of Middle Eastern Bitches Brew-era Miles.” (The Independent, 4*, March 2015 (UK)).
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“The second terrific album by Sam Lee, “The Fade In Time”…Ambitious, eclectic but, ultimately, dedicated to the enduring passions that resonate through this treasure trove of great song…” (John Mulvey, Uncut, March 2015 (UK)).
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“And so, the intrepid Sam Lee grapples imperiously with the difficult second album.
And wins.
Warmer, bigger, grander, more imaginative, more varied, more confident, more dramatic, more accessible and generally – from archive samples to boldly left-field arrangements – it’s magnificent.
It’s almost taken as read that Lee’s singing is sublime throughout.
An album clearly made with enormous thought, love and respect that really deserves to be heard.
(Colin Irwin, fRoots, April 2015 (UK)).
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“Lee lovingly creates soundscapes in which the dramas he sings unfold and live.
At the heart of all this is that voice and sensibility, carrying these frail, powerful stories and melodies – that did almost fade in time – into our era in an entirely modern form’.
(Julian May, 5*, Songlines (UK)).
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“At the heart of it all is Lee’s voice, an instrument in its own right that could easily carry the songs without any accompaniment at all.
The raw material may be ‘folk’ but the delivery has roots just as deeply planted in avant-garde jazz and chanson, resulting in a dramatic, challenging album that rewards repeated listening and, crucially, gives the songs an exciting new life." (Oz Hardwick, 4*, R2 Magazine, March 2015 (UK)).
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“Sam is the most accomplished and authentic interpreters of traditional English song to emerge in years” “He brought the house down [Queen Elizabeth Hall]”.
fRoots.
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“Well it feels like its been a long time coming but here at last is somebody doing really creative things with traditional English Folk Song from the ground breaking new album ”.
Verity Sharp BBC Radio 3 Late Junction.
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“You will be dumbfounded by Sam Lee with duck-egg eyes, a horseshoe smile and an honest, confiding baritone”.
The Guardian.
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“The Band whittle folk in wonderful shapes, giving a flavour of 70s krautrock, while hints of disco and bluegrass added brilliant backing to Lee’s Baritone”.
Jude Rogers, The Guardian.
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“Sam Lee: The heart of folk”.
Erica Wagner, The Times.
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“The rising star of traditional English folksong”.
The Daily Telegraph.
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“One of the most promising folk singers to emerge from the London scene this decade”.
The Independent.
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“An extremely natural and charismatic performer.
His modern, often trancelike arrangements of traditionals never fail to still a room.”.
Timeout.
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“Sam Lee is one of very few to achieve a real emotional punch with moving simplicity”.
The Wire.
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“It was while hearing musician Sam Lee perform that I decided we should celebrate folk, not only as a musical movement but as a lifestyle”.
Alexandra Shulman, Editor Vogue UK.
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