Norma Waterson and Eliza Carthy – Gift

This album is the first which mother (Norma) and daughter (Eliza) have released as a duo. They have already recorded many albums independently, and as part of other ‘collectives’ including the similarly named Waterson:Carthy, which also includes husband/dad Martin Carthy and melodeon player Seth Rose.

This one breaks new ground, combining the extensive talents of these two accomplished singers, and although a good number of other great musicians provide accompaniment on the tracks, the central feature is the song and the singer, not the instruments.

The album opens with ‘Poor Wayfaring Stranger’ – which will be familiar to many. It’s been recorded in a variety of ways, by many diverse artists over the years, and is featured on Eva Cassidy’s Songbird album. The guitar intro gives nothing away about what is to follow, which is a powerful and melodic interpretation of this classic song, with Norma and Eliza joined on vocals by yet another family member – Mary Waterson. This track provides a familiar introduction – and sets the scene for the rest of the album. Imagine yourself in a small intimate folk club, with a pint of real ale, and prepare for a treat. Track 2 – ‘Little Grey Hawk’ features Eliza on fiddle as well as vocals, reminding us that she is also a highly accomplished fiddle player. This song has all the classic ingredients of a good folk song – abandonment, betrayal, and advice about what you should and shouldn’t get up to when you have a good wife of your own. And of course being a traditional folk song, it’s not really about a Little Grey Hawk.

‘The Nightingale’ turns to another popular topic for traditional folk – the sea. As expected (once you realise that The Nightingale is a Ship, not a bird) the inevitable press-ganging, shipwrecking and watery grave feature in the unhappy tale. The fiddle playing on this track is highly atmospheric, and sets the expectation of impending doom right from the start, and the tolling of the distant church bell adds to this. Boats are, after all, considered to be dangerous by many sane minded people. The lamented hero does have the decency to put in a ghostly appearance to break the bad news to his lost love. Not quite a happy ending, but at least she knows not to wait for him.

But don’t get the impression that all traditional folk music is about unhappy events. Even though track 5 is titled ‘Bonaparte’s Lament,’ it is a much happier affair, and will have your feet tapping, and a definite urge to get up and dance, as the ladies recount events in St Helena as Napoleon’s political career takes a turn for the worse.

Then we’re off to Honolulu with the ‘Ukulele Lady’. This moves more towards a jazz feel, and further illustrates that although there’s a great wealth of traditional music from our own islands there’s no harm in broadening your horizons to other shores. Disappointing lack of said ukuleles in the accompaniment though, considering the ubiquity of the instrument on other albums I’ve listened to in the last couple of years – including the excellent Leisure Society’s The Sleeper where ukes abound. However, the rasping trombone solo by Roger Williams compensates somewhat, and the neat segue into “If paradise is half as nice” (UK Number 1 hit for Amen Corner in 1969) is an unexpected bonus.

For anyone who enjoys traditional folk music, thoughtfully arranged, and expertly delivered, this album really is a delight from start to finish. Backed by a host of other celebrated musicians, mother and daughter really deliver a fine performance. If folk is something new and unfamiliar, give it as go anyway – broaden your horizons, by trying something old and new at the same time.