Maverick Music Magazine ****
October 2007
The Opening Bars of Devil's Advocate, titles track on this superb second album from Chris Stout, resound with cheeky piano beats and deep dastardly violin worthy of the devil himself, never mind his advocate. Never a real fan of the saxophone, its presence for me constitutes something of an annoyance. However the inventiveness of the music and influences from different genres and cultures is key to this disc so who am i to begrudge him a little sax here and there.
Chris Stout's music easily betrays his heritage. Born and raised in the Shetland Isles, he studied classical violin at the Royal Scottish Academy of Music and Drama followed by electro-acoustic music at postgraduate level. As well as the quintet, Stout is a member of Shetland band Fiddlers Bid and has recently completed a commission for the BBC Scottish Symphony Orchestra. Consequently, Devils Advocate features a glorious mix of technology, folk and classical, reveling in the genres' links and celebrating their differences. Classical discipline reigns in traditional exuberance and Stout's electro-acoustic ear means the production is top-quality. All too often, eclectic discs such as this have nothing to unite the pieces and come across as a selection of deliberately different works. But Devils Advocate unites Stout's vision as a musician and technical prowess as both a violinist and fiddler.
The Scotsman
FIDDLER Chris Stout’s much anticipated solo album does not disappoint. A mainstay of bands from Fiddlers’ Bid to Salsa Celtica, Stout is one of Scotland’s most gifted young musicians, and receives exemplary support from saxophonist Fraser Fifield, harpist Catriona McKay, guitarist Malcolm Stitt and bassist Euan Vernal. His playing is steeped in the melodic and rhythmic traditions of his native Shetland but, like most of his contemporaries, he has absorbed a wide range of global musical influences. He draws on Swedish, Norwegian, Brazilian and Irish tunes alongside his own more contemporary compositions.
Kenny Mathieson Netrhythms.com
This solo album from Chris is perhaps not quite what you might expect to come from an ace fiddler, for although it contains plenty of stylish solo playing it's emphatically not a diddly merchant's showpiece! Chris, a lead player with crack Shetland band Fiddlers' Bid, has more recently been touring with Latin-Scottish fusion big-band Salsa Celtica. For the making of this album, Chris was given the freedom to develop contemporary ideas and experiment with both traditional and new compositions; to aid him in this endeavour he invited four seriously talented musicians along, with the result that a veritable band was born! Even so, textures are kept simple, with the emphasis less on mob-handedness and more on the effect of the individual colourings of the various instruments and the specific personal stylings that the musicians bring with their approaches to playing. Inevitably also, with the use of soprano sax - courtesy of Fraser Fifield - there are distinct jazz leanings in the treatments at times, but Fraser's fluid and responsive style works extraordinarily well in the context of the chosen tunes, which encompass modern compositions from the likes of Ivan Drever, Eileen Ivers and Gerry O'Connor as well as tunes from traditional Shetland and other sources. The three other musicians - Malcolm Stitt (guitar), Catriona McKay (piano, harp) and Euan Vernal (double-bass, percussion) - do so much more than provide rhythmic fills or decorative frills for the fiddle and sax. One of the album's principal highlights comes at track 5, where the supremely atmospheric beauty of the Da Day Dawn/Greenland Man's Tune set is greatly enhanced by Catriona's rippling clarsach accompaniment to Chris's poignantly phrased fiddle lines. Another standout is the lively treatment of an unnamed, possibly Swedish tune on Scandanonymous - this track being just one prime instance of a creative collision of the musics of Scandinavia and Shetland (the other's a hypnotic Norwegian hymn tune - track 3). I also liked the title track, an excitable yet quite relaxed semi-improvised essay in a stirring contemporary jazz style. The comparatively orthodox approach to the three reels (track 7) also provides a scintillating four minutes. Finally, the original Fiddlers' Bid tune Hamnataing is revisited with a gentle swing that makes it an ideal choice for closing track - evoking a favourite fishing spot, this is an ideal place to ruminate indeed.
Folking.com
Chris Stout is lead fiddler with the delightfully named Shetland band ‘Fiddler’s Bid’ and brings us a great set demonstrating that fiddle style of the island. But this is not an album of old Shetland music. Chris has used the freedom offered by the progressive Greentrax Company to experiment – in the best possible taste – with sounds old and new. He gives a beautiful set with an intriguing title on track two. This is ‘Scandaonymous’. It opens with a tune whose history he has failed to track down, yet. He believes to hail from Sweden, hence the title. For a slow, beauty it is hard to beat the track ‘Norwegian Hymn’. My personal favourite on the album is ‘Da Day Dawn/Greenland Man’s Tune’. The notes tell us that the opening piece refers to the light dawning on the morning of the New Year. One can just visualise the stark island landscape and rugged coast with light seeping then flooding in. This is old music revitalised and played from the heart.
Nicky Rossiter The Living Tradition Magazine
Well-known from Fiddlers Bid, Chris is acquiring a reputation as a fine solo fiddler with his own band and as a versatile and skilled session player with Salsa Celtica and others. He's a man of catholic musical tastes and a wide range of musical collaborators, some of whom guest on this CD.
Most of the sets on this CD are not of well-known tunes . or at least they're tunes that I don't know. Some are Chris's own, some are written by the likes of Gerry O'Connor, Ivan Drever and Fraser Fifield and some are from far afield - like the totally mesmerising Norwegian hymn tune, Jeg Ser Deg Sote Lam. There's a good blend of bouncy, emotive and rousing, Chris writes a good melody and isn't afraid to mix in some non-trad. ideas. The only track that doesn't work for me is the semi-improvised title track. However, my son Paul, who IS a fiddler, LOVES it - so perhaps it's a "fiddlers' tune" as opposed to one for general consumption? Or perhaps I'm just a phiddling Philistine of a guitar-player? No matter - Chris Stout is up in the Fraser/MacDonald/McCusker league, this is a fabulous CD and number one son is busy learning some of the tunes from it .which is always a good sign.
Alan Murray Rambles.net
Chris Stout is lead fiddler with the delightfully named Shetland band Fiddler's Bid, and he brings us a great new recording to demonstrate the fiddle style of the island. But First o' the Darkenin' is not an album of old Shetland music. Chris has used the freedom offered by the progressive Greentrax label to experiment -- in the best possible taste -- with sounds old and new.
He gives a beautiful set with an intriguing title on track two. "Scandaonymous" opens with a tune whose history he has failed to track down -- yet. He believes it to hail from Sweden, hence the title. For a slow beauty, it is hard to beat the track "Norwegian Hymn."
My favourite on the album is "Da Day Dawn/Greenland Man's Tune." The notes tell us that the opening piece refers to the light dawning on the morning of the New Year. One can just visualise the stark island landscape and rugged coast with light seeping then flooding in.
This is old music revitalised and played from the heart.
written by Nicky Rossiter
published 19 June 2004
Roots Review www.rootsreview.co.uk
Chris Stout of Fiddlers' Bid has produced his debut solo recording, First O' The Darkenin'.
Stout has an extensive career already behind him of touring with various shows and playing with different groups, as well as his current work with Fiddlers' Bid, so it is no surprise that this album has a very professional sound. The pieces are arranged with collaboration from four other musicians who add depth, beautifully supporting, and sometimes sharing the spotlight with, Stout's amazingly emotive playing.
No amount of touring or studying could replicate Stout's phenomenal talent that can be found on every track. His collaborators are also extremely gifted musicians. Catriona McKay, also of Fiddlers' Bid, Malcolm Stitt, Fraser Fifield and Euan Vernal of Capercaillie all provide amazing accompaniment. The pieces range in tempo and style, as well as combining modern and traditional tunes. "Hillswick" is made up of two tunes, beginning with a beautiful refrain played on the fiddle in the traditional tune, then turning to a faster beat on the second tune, by Orcdian singer and guitarist, Ivan Drever, which was taken from the dance show "Celtic Fusion".
The second piece is "Scandanonymous": a previously un-named melody from Scandinavia, "The Velvet Jig" written by Fifield and "Fraser Fifield's" written by Stout for Fifield. The music takes on a slightly esoteric feel as the fiddle and saxophone play together. "Jer Ser Deg Sote Lam" is a Norwegian hymn and is hauntingly beautiful. The tune is graceful and slow. Accompanied by delicate piano and guitar, it retains its sense of holiness.
Following is "Double Helix", a fast paced danceable piece comprised of two tunes: "Double Helix" by Stout and "Vaca Amaela" by McKay. The fiddle and saxophone play off each other, creating a sound not often heard.
"Da Day Dawn/ Greenland Man's Tune" consists of two traditional tunes, the first of which is a Shetland piece describing day break on New Year's Day. The second is also a Shetland tune, dating back to the time of whalers. Accompanied by the harp, the piece is soul stirring and vividly brings to mind the clarity and newness of each New Year.
"First O' The Darkenin'/ Baak-High" is a "non-melodic...semi-improvised" piece. Taking its name from twilight and a Shetland expression for "excitable" it is a highly imaginative group effort from all the musicians. The next piece, "Three Reels" is more traditional, being made up of exactly what its name claims, all of which are played with wonderful energy.
The album closes with "Hamnataing" written by Stout. It refers to a part of the coastline of the island of Mousa and is a slow, thoughtful piece. It was previously recorded on the Fiddlers' Bid album of the same name, but got a bit of a reworking here.
Stout's first solo project is fantastic. His fiddle truly sings and he brings the tunes to life. This is an instrumental album that draws you in and that you could happily listen to over and over again, never tiring of the amazing playing and beautiful music.
It is a must for anyone interested in Shetland, Scottish or folk music, as Stout has created a universally appealing recording.
The Folk Mag www.btinternet.com/~radical/thefolkmag
If you are a staunch folk purist, then the odds are that Chris Stout is not the man for you. However, if like me, you relish a little eclecticism and innovation in your folk music, then First o' the darkenin' is an album well worth looking out for. Stout is a fiddler hailing from Shetland, and, while the traditional music of his home is evidently a major influence on his work and there are several Shetland tunes on the CD, there are also strains of jazz, Scandinavian folk and modern composition in the mix. Some of the material is Stout's own, and it's good stuff. Consequently, there's a diverse selection of sounds and styles on the album, but they do blend well, the overall effect is impressive and there is an identifiable folk influence throughout.
The album consists entirely of violin-led tunes, but even so there is a remarkable diversity of sound and mood. The thoughtful and varied forms of accompaniment are critical in achieving this. Musicians Catriona McKay, Malcolm Stitt, Fraser Fifield and Euan Vernal add piano, harp, guitar, saxophone and double bass at varying times and to very good effect. (As an aside, some more detail on the sleeve notes about who was playing what and when would have been good, but it's a small gripe.) The arrangements are tightly constructed, musically interesting, varied in texture and pleasingly sensitive to the melodies.
What struck me most of all listening to this album, was the sheer beauty of Stout's playing. He is a truly fine fiddle player, possessed of considerable technical skill and a remarkable delicacy in his playing, enhanced by genuine sensitivity to his material. It is a pleasure to listen to him.
The only track I had any misgivings about was in fact the title track First o' the darkenin' which Stout describes as 'non-melodic', and I'm afraid I'd have to agree with him. It didn't do all that much for me. I could perhaps describe it as 'loose and impressionistic', but I much prefer his melodic playing, all things considered. Given the quality of the rest of the CD, finding that there was one track a little too experimental for my tastes has not put me off, and I would recommend giving it a listen anyway.
From moody, haunting melodies to lively tracks that will speak directly to your feet and get them tapping, this is a very good album on the whole and I would certainly recommend it.
Bryn Colvin Box and Fiddle Magazine
This is Chris Stout’s first solo album (usually he’s with Shetland Band Fiddlers Bid) and it features four very talented musical friends – Fraser Fifield on soprano saxophone, Malcolm Stitt on guitar, Euan Vernal on double bass and Catriona McKay on piano and harp.
This CD has only eight tracks (around forty-four minutes of music) but don’t let that put you off – this recording is a melodious masterpiece from five musical geniuses, not just for their huge talents on their respective instruments but as a collective. There are no words to describe how fantastic this CD is – except to say it is sheer musical poetry. The arrangements are out of this world, a fresh approach to Celtic music, a sort of fusion of world music mixed in with Scottish traditional tunes. I know there are a few groups doing the same sort of thing but Chris’s band certainly is in a league of its own here.
I was looking forward to hearing this recording, as I had been in the Castlesound Studios the week after Chris had finished this one and the sound engineer was blown away by their musicality and brilliance – I know now what he was on about! All credit to the studio as well for the excellent job they have done on this recording.
This is a must have CD in a collection if you like the Celtic/Folk groups. In my opinion it is one of the very best available.
