Modern Vikings: Tales of the Skald

Modern Vikings are a quintet formed by Stephen Henderson. He is perhaps best known as the drummer in Fergus McCreadie's trio, The quintet keeps that trio, consisting of Henderson, McCreadie and bassist David Bowden, as its core. Together, they have proven to be a formidable unit, both live and in their recorded work. In the quintet format, the musical gamut is widened as they are joined by fellow scots Konrad Wisniewski on tenor saxophone and Graeme Stephen on guitar.

In McCreadie's trio, Scottish folk music has often formed the foundation for the tunes. Henderson also places folk music at his compositional core but takes his inspiration from further afield, utilising African rhythms and Scandinavian influences alongside Scottish folk. He is no stranger to folk idioms, having played for over 10 years in a Scottish pipe band and says he is "inspired by jazz musicians who incorporate elements of their own countries' folk music into their writings and playing."

Tales of the Skald is the group's debut and consists of nine tracks, all written by Henderson. Apart from the opening prelude, all the tracks are in the five to nine-minute range. "Pseudo Power" gives all the musicians a chance to shine. A bustling driving groove with tight interplay leads to neat work from McCreadie. Wisniewski then reveals his Michael Brecker influences in a flowing solo. "Oslo" swirls with eastern-flavoured mystery. There is a call and response on guitar and sax. Bowden brings a well-considered bass solo and Henderson drives the pace as McCreadie's high-energy improv emerges. The gentle and melancholic "November" allows more space in, with first-rate solos from Bowden, McCreadie and Wisniewski.

Such is the strength of the compositions, there is a good deal of competition for the standout track. "Cracks in the Clay," with its memorable piano motif building to the perfect point for Wisniewski's sax to join, is certainly a contender. As is "Carson," with its light African influence giving way to McCreadie's improv. Both tracks lead to unexpected endings, powerful and intense crescendos, with fiery solos from Stephen and Wisniewski. The title track features Stephen's guitar at its cinematic best with flowing Fender Rhodes from McCreadie over a profusion of rhythmic pulses from Henderson.

Henderson may have drawn inspiration from mythology and folk music for these compositions but that only comes overtly to the surface in the delightful "Back Home." The wistful theme is introduced in a manner reminiscent of artists such as Lau or Sam Sweeney. Here it is carried on melodic sax, revealing an uplifting freshness, before moving into guitar improv to close.

Many of the tracks have a density of melodic layers that are revealed by multiple listens. Alongside his compositional prowess, Henderson acts as the nexus as his partners bring powerful and passionate performances in an album full of dramatic moments, evocative earthy melodies and imaginative rhythmic focus.

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