Album Description
Kind Letters sees Martin returning to the mainly British traditional material that he explored on his Award winning CD,
The Bramble Briar. With the addition of a beautiful rendition of "When First I Came to Caledonia", the wonderful banjo-accompanied track, "The House Carpenter" and his self-composed tune, "Bareback to Bullhassocks", (in honour of his road manager and great friend, Terry Oliver), this collection of songs finds Martin at his most relaxed best.
Martin enlisted the help of some good friends for this recording--the wonderful Irish band, Danú on the tracks "When First I Came to Caledonia", "Here's Adieu Sweet Lovely Nancy" and "Adieu, Adieu"; the extraordinary young duo, Nancy Kerr & James Fagan on "The Cruel Brother", "Love Henry" and "A Blacksmith Courted Me"; plus the ever-brilliant Chris Parkinson on "Creeping Jane" and "Bareback To Bullhassocks". This gave him the chance to work with a group of exceptional musicians and singers who have added all kinds of light and shade to the pieces, complementing Martin's expert guitar-playing at all times.
There are plenty of solo tracks of course--"The Flying Cloud" being a spell-binding performance of one of the most atmospheric of traditional ballads there is, plus a welcome return to a bit of banjo-wizardry with his great interpretation of "The House Carpenter", as just two examples.
CD Description
For several decades, Martin Simpson has been a contender for the Finest Fingerstyle Folk Guitarist in the World Award. But on Kind Letters he puts himself in the running for Finest Arranger as well, with several subtly adventurous and completely wonderful settings including "The Cruel Brother" (check out the gorgeous string writing and the quiet but wild electric guitar behind his acoustic guitar and voice) and "Here's Adieu Sweet Lovely Nancy." Also noteworthy are a spare and lovely guitar-and-accordion arrangement of Simpson's own "Bareback to Bullhassocks" and his fine clawhammer banjo playing on "House Carpenter." Simpson's ability to sing freely around the rhythm while playing with a solid, square beat isnothing short of amazing, and as a singer he does a very good job of making the most of his somewhat limited instrument. The album's finest moment comes right in the middle, on a sad and beautiful arrangement of one of the great British death songs (of which there are so many), "Adieu, Adieu." Thisis another in a long line of exceptionally fine albums fromone of British folk's brightest stars.