Michael Messer & Faris
Pocklington Arts Centre
November 21, 2015
The acoustic blues weekender at Pocklington Arts Centre has become a regular fixture, led by the English guitarist Michael Messer. He combines daytime tutorial workshop sessions with a Saturday night performance that features guest appearances by the attending players, some of whom have their own recording careers long in place. This year, Messer also invited Faris, an Italian-Algerian singer and guitarist of Tuareg descent, meaning that the desert blues were inevitably on the horizon. Faris was on hand to teach that style, complementing Messer's more familiar bottleneck lessons. This was Faris's first gig in the UK, and the choice of this small country town in the East Riding Of Yorkshire provided a somewhat alternative setting.
Messer is a committed hardcore blues specialist, placing "You Gotta Move" close to the start of his set, the traditional spiritual, as interpreted by Mississippi Fred McDowell
. Messer's low-level vocals and soft bottleneck flourishes lent themselves to a subtle reading, bringing in a light foot-tread for "I Can't Be Satisfied" (Muddy Waters
), beginning to heat up, before being joined by three of his 'students,' including Stuart Earl, who had his latest disc on sale at the merch table. Earl pushed the character towards a mainline singer-songwriter mode, several steps to the side of the blues, although Messer kept his strings sliding resonantly, almost heading for Hawaii with his sustained vibrato weep.
When Faris took to the stage, following a break, there was a marked intensification of the atmosphere. Messer and company had been sitting, playing quietly, while Faris was standing and turned up louder, his voice also crackling with amplified energy. His style features detailed ornamentation, not massively bluesy, as promised by Messer earlier, but more in keeping with the general orientation of Tuareg music as played by the likes of Tinariwen, Toumast, Ezza and Tamikrest. The striking difference being that all of those acts feature electric guitars, distorted, burning and grainy. Here, Faris was displaying an acoustic aspect that allowed much more detail to be discerned, a silvery density of cascading notes. Clipped and muted phrases added to the detail, as each new curlicue emerged. After around 30 minutes, he brought out a lap steel guitar, edging nearer to the American blues, a hushed minimalism developing from both Faris and the closely gathered audience. "I don't care where they go," he repeated, switching to English, starting to become increasingly Ry Cooder-ed.
November 23, 2015
Not simply a Scottish combo, Blazin' Fiddles travel right down from the far northerly Highlands and Islands. They've been together since 1998, but still emanate a youthful vigour, not least because their line-up has been rejuvenated down the decades. After a series of departures in recent years, fiddler Bruce MacGregor (from Inverness) is the only original member left in the ranks, but his playing and personality are well up to the demands of fronting this outfit. He's a garrulous host, full of amusing stories and background explanations. The fundamental concept is to have four fiddlers to the fore, backed up by piano-keyboards and upright bass. For much of the performance, all fiddles remain on full thrust, simultaneously sawing away at tripled tune-clusters, the menfolk clumping with their boots to provide percussive emphasis. The individualities of each fiddler shine forth more when they take a break from the group bounding to engage in spotlight sequences, usually in duo or trio formation, alone either with piano or guitar, or both of these. This is a canny move, facilitating greater variety as the evening's two sets cantered along.