The Compleat Dancing Master

I remember thinking at the time the 'Compleat Dancing Master' first came out that it was a bit of a disappointment after 'Morris On'. Why was there all this talking? Just get on and play the music, I thought. It's reissue on CD gives a chance for a total reappraisal.
It really is a unique gem, outshining 'Morris On' (also subject to CD reissue) and only slightly behind 'No Roses' as Hutchings greatest post-Fairport achievements. Using the 'concept' of dance music through the ages it seamlessly (and often wittily) melds traditional instruments with electric ones and adds context with the spoken pieces. The nearest that anyone's come since to perfecting this mixture of crumhorns etc and electric guitars is Phil Pickett/Richard Thompson's 'The Bones of All Men'(also highly recommended).
I don't think anyone other than Hutchings would have had the audacity to attempt something like this. He managed to persuade a host of distinguished musicians to play and, probably even more distinguished actors to participate. Bernard Hepton, Michael Gough and, especially, Michael Hordern are all superb in their 'cameo' slots.
With 'The Compleat Dancing Master' Ashley Hutchings again demonstrated his ability to pioneer new directions in folk music and, just as typically, leave the future development to others whist he moved on to yet more ground breaking work with the Albion Band.

I have loved this album since it first appeared in the States as an LP on the Antilles label back in 1974. It is an ideal combination of the electric English folk tradition of Ashley Hutchings (Fairport Convention, Steeleye Span, the various incarnations of the Albion Band) and recorded readings of classic English literature featuring the likes of Michael Horden, Michael Gough, and Alec McCowen. All the texts from Chaucer to Dickens focus on the nature of country dancing. These readings are surrounded by Hutchings' and John Kirkpatrick's contemporary arrangements of traditional folk tunes with able support from all the musicians involved including early music specialist Phillip Pickett of the New London Consort who has often played with Hutchings, Richard & Linda Thompson, etc. This gives the album the simultaneous feel of something old and something new.

I have waited years for it to come out on CD and was surprised to see the release date of 2002. Where has it been the past 4 years? No matter. It's great to finally have it where I can listen to it in good quality sound on a format that's more accessible although I'll hold onto my LP and the rather poor sounding cassette that Hannibal released several years ago. It's a one of a kind album which is a true classic from one of England's great folk musicians that I find myself playing over and over again. Also nobody can recite Chaucer's Middle English like Gary Watson. In fact all of the readings are in a class by themselves. Imagine an audio book that you can dance to for THE COMPLEAT DANCING MASTER is first and foremost about the music. Truly remarkable.

This as a masterpiece. It works as a collection of varied traditional tunes, beautifully arranged by Hutchings' collaborator John Kirkpatrick, for a range of traditional acoustic and electric instruments and played with the greatest skill and verve, but also as an introduction to the history of traditional English dance music.

The songs have a framing device, which might perhaps put off the unprepared. There are 5 pieces of verse or prose performed by distinguished actors that relate directly or ironically to the pieces that precede or follow them. For example the lively dance tune, Trotto is followed by the puritan William Prynne's denunciation of indulgence in earthly pleasures, particularly dancing, on the grounds that it leads down the crimson path to hell. This in turn is followed by a hurdy gurdy tune, which seems hesitant, but somehow unabashed, before a rousing performance of Cuckolds All Awry by the electric band seems to say that it is the music, not Prynne whose voice persists. And perhaps by extension that in the face of eternity dancing is not such a bad response, in fact what better?

A mixture of the spoken word and music may not always work but, despite the 1 negative review I think very few would not find that in this case at least these short spoken pieces add to the enjoyment. I played my vinyl version of this pretty much to destruction, and never ever wanted to skip them. I am so pleased to find this favourite re-released on cd.

Some of the performances individually may not be greatly different from those found on other Ashley Hutchings projects. However the CDM is distinguished from them by the variety of the arrangements, and the quality of musicianship throughout. There are other records done with as much love, for example Pet Sounds or Sergeant Pepper, but fewer with such sustained clarity, purpose and intelligence. And probably none that convey such pure joy and pleasure.

If you appreciate traditional music with an electric flavour, or want an introduction to the English tradition, try this, (and then No Roses, with the wonderful Shirley Collins). If you give it a proper chance, you're unlikely to be disappointed.