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Nick Morgan and crew
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Concert
Review by Nick Morgan |
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MARTINS
4
Bloomsbury Theatre, London
- Saturday April 2nd, 2005 - by Nick Morgan |
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From left to right: Martin Taylor, Martin Simpson,
Martin Carthy and Juan Martin |
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I’ve never been too sure about the numbers
thing when it comes to names. I mean, I remember
from my philosophy classes that names signify
something (Thomas Hobbes unless I’m much
mistaken), but what about numbers? Dave Clark
Five, Alabama Three, Temperance Seven, Three Mustaphas
Three, Gang of Four, Brora 30, Birmingham Six,
7 Eleven, Three Dog Night, Colt 45 – I’m
sure the list is almost endless. But what do all
these numbers really mean? And if you add them
up then what do you get?
In the case of Martins
4 then the answer has to be a convenient
handle for a random collection of four very accomplished
guitarists, each with their own distinctive styles
and audiences. The question has to be asked, “Why
bring them together”? If you were a whisky
blender you might baulk at throwing together a
powerful and temperamental Islay (Juan
Martin) with a feisty islander (Martin
Carthy), a sublime Speyside (Martin
Taylor) and a fourth malt that didn’t
quite know what it was (Martin
Simpson) in equal proportions. Yet
the result is certainly, as a good blend should
be, more than the sum of its parts, whether by
accident or good fortune. |
Martin
Carthy |
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The
audience, though not quite in the same league of
bonkersdom as on my last visit here (Procul Harum
and the Palers) seems at first sight equally random,
bearded folkies, swarthy Spaniards and a few cool
jazzheads, with an age span from around 12 to late
seventies. My impression was that the majority were
at the gig to hear particular Martins, which is
what they were served first, and not the Martinial
confection that was brought to the table in the
second half. If they shared my scepticism as to
the ingredients then I’m sure that by the
end, like me, they were persuaded that sometimes
a seemingly random mix can be just as good as a
well tried recipe. |
| So
Martin Carthy MBE, father of the English folk-guitar,
kicked off with three tunes and a badly buggered
guitar cable. He gave us a wonderful song collected
from Kentish songsmith Len Smith, and his famous
rendition of the Harry Lime Theme, which apparently,
according to Martin Taylor MBE (who followed), is
the music that he (Taylor) wants played at his funeral.
Lets hope he doesn’t die soon. Laid
back and loose, Taylor was simply awesome, one of
those guitarists who makes it sound as if there
are at least three people playing (shades of Bill
Frisell).. We got Nora Jones’ ‘I don’t
know why’, ‘One day’, a tune written
for Glasgow’s Celtic Connections Festival,
and ‘Rum Beach’, when with the addition
of a dampener under his bridge he transformed his
guitar into a Caribbean steel band. |
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Martin
Taylor |
Juan
Martin |
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No
less versatile was Englebert Humperdink look-alike
Juan Martin (pronounced Hwan Marteeeen) who used
his short spot to rumba and fandango his way through
an exemplary Flamenco primer, with a particular
emphasis on the Moorish roots of his music. If anything
Martin Simpson seemed the most rootless of the four
– a beautifully played mixture of blues slide
guitar and traditional folk, from a musical setting
of Patrick Kavanagh’s ‘On Raglan Road’
to an Americanised tribute to the Gibson Super 400
(no Serge, not a motorbike, it’s a guitar)
– but altogether something of a curate’s
egg. |
| When
the four Martins came together for Martins 4 one
might have wondered what for, after such impressive
individual sets. However they knocked out six tunes,
mostly from their current (and so-far only) eponymous
album with great humour and aplomb, giving equal
space for each of their diverse talents. Amidst
the endless tuning (that’s what guitarists
do when they get together) and ‘Smoke on the
water’ riffs (no Serge, not a plug for that
other Islay whisky – by the way – do
they pay royalties to Deep Purple for that ad?)
Martin’s ‘La Pasion De lamento’,
Martin’s version of ‘Glass of water’,
Martin’s ‘Heather down the Moor’,
and Martin’s original composition ‘Barrack
Street Stroll’ were probably the highlights.
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Martin
Simpson |
| As
we left Jon said (Martin wasn’t with us) that
we should all go and see Martin Taylor the first
chance we get – I would commend you all to
do the same. In the meantime you can by the CD,
and of course try and get hold of the 2003 DVD,
Guitar Nights. But hang on – this isn’t
by the Martins 4, it’s the Four Martins! Names,
numbers, confused? I sure am. - Nick Morgan
(top concert photo by Kate) |
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