|
“...a
rough tough ensemble of kilt wearing Scots who
specialise in the fusion of contemporary jazz
and their native traditional music…infectiously
rhythmic…had the audience stamping and
shrieking.”
THE TIMES |
“New music out of old,
made with wit, warmth, skill and devotion”
“…sounds like Miles Davies mid –
1960’s quintet playing a Saturday night pub
gig in Glasgow.”
THE GUARDIAN
“a driving force behind
the most progressive developments in Scottish jazz
in recent times.”
THE GUARDIAN
" exhuberant and entertaining...there
are a couple of tracks here that could easily become
oddball pop hits ..." The Observer
" each piece, a fresh idea,
another facet comes into play, this is music with
a smile".
The Herald
" The drummers music for
the band showed his excellent development as a composer"
The Scotsman
“merging Cuban, Brazilian,
and Scottish influences into an exuberant and highly
personalised macbop...."
The Herald
"Celtic-jazz fusion is not
uncommon these days, but I have rarely heard anything
quite as exuberant and entertaining as this cheery
amalgam of bebop, reels, samba, salsa, and anything
else that comes to hand. There are a couple of tracks
here that could easily become oddball pop hits, given
half a chance."
Dave Gelly
“Celtic Feet are the latest
manifestation of that desire to bring his favourite
musical directions together, and their second album
develops some fascinating and enjoyable music from
the collision. He is abetted in his efforts by saxophonist
Phil Bancroft, guitarist Kevin MacKenzie (both jazzers
with well-established folk leanings), pianist Brian
Kellock and bassist Mario Caribe from the jazz side
of the fence, and concertina player Simon Thoumire
(whose own music has often moved in the opposite trajectory,
from folk to jazz) and fiddler Eilidh Shaw from the
folk camp (percussionist Guy Nicholson also guests
on one track, the Indian-influenced "Ragabond").
That combination ensures he has authentic practitioners
on both fronts, and they are able to work together
in realising a music which does not really attempt
a fusion (implying a reduction to a homogenous lowest
common denominator) so much as an intermingling, drawing
on the strengths of both. The music allows them space
to breathe and interact, and works with their contrasts
as much as connections."
Jazz Wise
