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Recorded | Produced | Performed
James Patterson - guitars and vocals
John Dipper - Viola d’Amore
Adrian Lever - Guitar, Tambura and Harmonium
Emily Askew - Cello
Their choice of material has origins in traditional song and the
English classical song repertoires, that greatly influence the duo’s
approach.
More...
Independent of the source, a thoughtfulness and a deep seated musicality
is brought to each arrangement.
With Patterson’s smooth baritone floating gracefully over the accompaniment
of guitar and Dipper’s sublime viola d’amore, the words and narrative
are given the space that they truly deserve.
In both The Guardian and also Mojo’s Top 10 Folk Albums of 2021
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Performed
John Dipper - viola d’amore
Jonny Dyer - spinnet, harpsichord, gandola, citole, guitar
Vicki Swan - Nykelharpers, bagpipes, flute, recorder
Reviews...
“Were there ever such thing as a ‘feel-good’ album, then this is
it. I cannot conceive of how anyone could listen to ‘An Invitation
To Dance’ performed by Purcell's Polyphonic Party and not feel their
soul lifted by this collection of music from John Playford’s English
Dancing Master and contemporaries.
Should the mood take you, then indulge in a step or two, because
as the musicians state: "... crucially, each track is designed
for dancing. Repetitions and speeds are meticulously researched
and included in the sleeve notes." Then again, you can just
as easily listen from the comfort of your armchair ... this music
is definitely as much for listening as it is for dancing.
Purcell's Polyphonic Party are a trio that combine their unrivalled
skill with an enduring love for Purcell, Playford and the baroque
era. John Dipper is a respected and established performer, composer,
teacher and instrument maker, among her rich variety of instruments,
Vicki Swann is a virtuoso and teacher of the nyckelharpa (Swedish
keyed-fiddle), while multi-instrumentalist performer, writer and
arranger Jonny Dyer specialises in traditional music from the British
Isles and Scandinavia. The tunes include such delights as ‘Dick’s
Maggot’, ‘Jacob Hill’s Jig’, ‘Emperor Of The Moon’, ‘Terpsichore’
‘St Margaret’s Hill’ and ‘Upon A Summer’s Day’ ... and although
the titles may not immediately bring particular tunes to mind I’m
willing to bet that when you start to listen, a few will have a
familiar ring.
An absolute delight, start to finish, ‘An Invitation To Dance’
brings the delicate beauty of 17th and 18th century dance music
to contemporary audiences, combined with innovation and interpretation
to breathe fresh life into this charismatic music.
Purcell's Polyphonic Party are Vicki Swann (nyckelharpa, bagpipes,
recorder, flute, double bass) John Dipper (Viola d’Amore) and Jonny
Dyer (harpsichord, piano, guitars, bouzouki, citole).” Folking.com
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Recorded | Produced | Performed
Emily Askew - bagpipes, shawm, fiddle, recorders, vocals and hand
percussion
John Dipper - fiddle, viola d’amore and hand percussion
Jamie Roberts - guitar, fiddle and vocals
Simone Whittaker - hand percussion and vocals
Louise Duggan - percussion
James Patterson - vocals
Reviews...
“She gets better and better. The multi-instrumentalist and specialist
in early music won many new fans through that beguiling all-star
folk collaboration The Elizabethan Session. Her musicians delve
back further here, injecting danceable joie de vivre into material
from the medieval era. John Dipper’s viola d’amore nestles against
Jamie Roberts’s guitar. Unpredictable, impassioned and on the of
the albums of the year so far.” Clive Davis
- The Sunday Times
“Before writing a single word I will confess to an enduring passion
for medieval and renaissance music, so bias declared. However, the
fusion of medieval and renaissance melodies and songs with modern
folk styles that pours through ‘Alchemy’ from The Emily Alchemy
Emily Askew bandAskew Band is nothing short of gorgeous. And alchemy
is precisely the right word to use ... not for the transmutation
of ‘base metals’ into ‘noble metals’, more akin to the creation
of a panacea to cure disease. Listen to this music and there’s little
doubt that you will feel better and who knows your soul may soar
... mine certainly did.
This is more than mixing unusual instruments and experimenting
with ancient sounds and modern treatments, ‘Alchemy’ is a consummate
piece of work created by accomplished musicians. The span of music
flows from 13th to 17th century taking in Guillaume d’Amiens, Guillaume
de Machaut and Claude Gervaise, several anonymous works and an Emily
Askew original. Opening with some classic French dance tunes ‘Bransles’,
they include a secular Middle English song ‘Miri it is’ perfectly
joined to the spritely ‘Allez a la Fougère’, before introducing
a delightful rendering of ‘Cantiga de Santa Maria 42’ coupled to
another dance ‘Bourée’. A stately version of ‘Play of Daniel’ morphed
into a fiddle duet leads into the delicate ‘Guiseppe’ by Emily,
from there the idiosyncratic ‘Douce Dame Jolie’ takes hold as does
the wistful ‘Winter’ coupled to the buoyant ‘Tourdion’.
Alchemy’ brings to life music that might otherwise remain largely
forgotten, reveals the depths that lie beneath the surface and truly
does provide ‘balm for the soul.” Tim Carroll
- FolkWords.com
Liverpool Sound and Vision Rating 9/10
There is nothing bass metal about The Emily Askew Band, yet everything
they have put down for their debut album, Alchemy, has the feeling
of having a magic spell weaved around it, of succumbing to the incantations
of the ancients and the charms of a dream summoned; the guild of
sorcerers would have a gruelling time trying to match what is placed
down in these scrolls and notes.
Weaving a tale can be challenging, making it interesting without
sounding arduous or becoming a study of the fluff in the navel is
sometimes problematic, for The Emily Askew Band, the combination
between early music and modern perspective is illuminating, Alchemy,
more perhaps pure chemistry, the amalgam of individual talent fused
into a union, a federation of musical genius which takes the fiddle
and harp of Emily Askew and entwines them with Jamie Roberts’ guitar,
John Dipper’s viola d’amore and Simon Whittaker and Louise Duggan’s
percussive skills in the udu, riq and Whitechapel cast medieval
bells, and turns them into gold.
Chemistry is always important, without that science, of finding
the right mixture, the founding basis of such exuberance and passion,
may as well be stunted and maudlin. It is not an accusation you
can label at The Emily Askew Band, for the discipline on show is
exciting but also one steeped in the position of a memory of what
perhaps we have lost along the way; in our chase for enlightenment
we have taken several wrong turns, Emily Askew’s sentiment and remembrance,
is a keen reminder that there is still time to turn away from the
poison that has somehow got into our blood, the pursuit of avarice
over knowledge, of coveting the insubstantial instead of praising
the unconditional.
In tracks such as Play of Daniel/Guiseppe, Amore M’art, Winter/Tourdion,
and Quant Voi Flor Nouvele/C’est la Fin, The Emily Askew Band have
taken the magic and given it reality, a solid form, there is no
feel of the whifferdil, of the spell being momentary, and fleeting.
This is a powerful and dramatic boundless Folk and music from a
period that may have been lost to time but instead is made giant
and beautiful.
A brilliant debut, Alchemy is the potion and desire made authentic.”
Liverpool Sound and Vision
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Recorded | Produced | Performed
John Dipper - viola-d’amore
Dave Malkin - guitar and vocals
Reviews...
"John Dipper's duets with the guitarist Dave Malkin are perfectly
judged, the latter's occasional unassuming vocals adding just the
right measure of grit. Exquisite..." Clive
Davis - The Sunday Times
"The combination of the viola’s rich, sonorous tones, and
Dave Malkin’s guitar and voice is a winner.
On ‘King Storm’, the pair hit on an unusual ambient soundscape,
starting simply with Malkin’s dark vocals set against sparse viola
harmonics, before a glorious duet ensues." Acoustic
Magazine
"There's a rich luxurious feel to the many beautiful instrumental
tunes on this debut..." Songlines Magazine
"The new compositions meld with the traditional seamlessly;
melodic, never clever to impress, but always actually very clever."
fROOTS Magazine
"Beyond traditional folk... refined classical-tinged sophistication
and as exciting as the free form nature of jazz yet rooted in the
traditional." Fatea Magazine
"This is a fascinating premise for an album." R2
Magazine
"Distinctively English, albeit with an exotic twist… that
little bit different from anything else out there.” Living
Tradition Magazine
"Tricks Of The Trade is an album of stunning musicianship
without a single dull note." Folking.com
"An album of sublime elegance, of rapture and loyalty; the
pairing of John Dipper and Dave Malkin works superbly." Liverpool
Sound & Vision
“Following the contours of tunes with skill and precision, these
two highly talented musicians frame traditional music in all its
technicoloured glory. There aren’t many who can sculpt and carve
music and song in this way. Their playing is both moving and thrilling,
honing in on detail and throwing it wide to enjoy the bigger picture.
And they do the greatest service to the tradition by writing new
material to keep it alive.” Verity Sharp -
Late Junction, BBC Radio 3
“Superb musicianship and a very special ‘connect’ make this one
of the most inspired and inspiring duos I've heard in years!” Mike
Harding - Mike Harding Folk Show
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Methera:
Vortex (2017)
Performed
Lucy Deakin - cello
John Dipper - fiddle
Emma Reid - fiddle
Miranda Rutter - viola |
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Alma:
Varieties (2016)
Recorded | Produced | Performed
Emily Askew - fiddle
John Dipper - fiddle
Adrian Lever - guitar
Reviews...
Is it folk? Is it early music? Who cares when it's as ethereal
and seductive as this. Emily Askew, a multitalented star of the
Elizabethan Session project, focuses on the fiddle here, weaving
arabesques alongside John Dipper, as the guitarist Adrian Lever
supplies a velvet backdrop. Their repertoire continually springs
surprises, opening with a hornpipe before incorporating more astringent
themes from Scandinavia, Poland and North Africa. The playing is
spry, intelligent and joyous too. Clive Davis
- The Sunday Times
“When three fine musicians come together under the banner, Alma,
be assured that the end result will be worthy of note. Alma is made
up of Emily Askew, John Dipper and Adrian Lever. Each and every
one of them brings great understanding, skill and empathy to the
music and no wonder, considering their respective backgrounds. All
the tracks have been gleaned from a myriad of sources, from the
tried and tested John Playford’s English Dancing Master, of 1651,
to tunes form Sweden, Tunisia and even Iraq. Despite the eclectic
and diverse nature of the source material, such is the skill of
the performers that the music has a unifying homogeneous theme and
style throughout.” Living Tradition Magazine
“Fiddlers Emily Askew and John Dipper, in tandem with guitarist
Adrian Lever, explore a cornucopia of music from European and Asian
fiddle traditions. Dexterity and virtuosity are balanced by elegance
of phrasing in a keen recording of joyous presence.” fROOTS
Magazine
The recipe sounds simple, bring together three highly accomplished
musicians and let the magic happen, unfortunately such groupings
can result in a somewhat fragmented sound as each individual vies
for position. This is emphatically not the case with Alma, the coming
together of fiddlers John Dipper and Emily Askew with guitarist
and tambura player Adrian Lever. Their debut album ‘Varieties’ could
not have a more apposite name for Alma take their inspiration from
fiddle traditions in England, Tunisia, Iraq, Sweden and Poland then
add their own edge to create the most harmonious array of varieties.
The album positively sweeps and soars as the instruments interlace
and entwine to take the listener on an incredible aural journey
through its rich diversity... hornpipe, bouree, polska, mazurka,
jig and a morris tune. Inspired arrangements of traditional expression
reside in perfect harmony with original composition ... ‘Clark’s
Hornpipe’ and ‘Bourees’ sit happily alongside ‘A-Mollpolskan/ Happy
Outcome’ and ‘Bishop of Chester’s Jig/ Winterbourne’. Softly reflective
themes engage in agreement with frenzied enjoyment, gentle illustration
sits together with precise enunciation... and ‘Varieties’ delivers
exactly as promised. FolkWords Magazine
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Oss
EP (2015)
Recorded | Produced | Performed
John Dipper - viola d'amore
Nick Hart - voice, duet concertina
Tom Moore - violin
Reviews...
"A fine cast of England’s new generation of tradition bearers
give thrilling performances of the gems and forgotten songs that
they have unearthed from manuscripts and honed to perfection."
“A classy and very sophisticated take on English folk music, bringing
fresh new sounds to the scene - captivating arrangements, played
by masters of their craft!.” BBC Radio 3 Late
Junction
“This trio is the benchmark of refinement and finesse, while at
the same time keeping the grit and fidelity of the source material
alive and well. The Tradition is safe in their very capable Hands.”
BBC Radio 2 The Folk Show
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Recorded | Produced | Composed | Performed
Hugh Lupton - Storytellar
Nick Hennessey - Storytellar
James Patterson - guitar and vocals
John Dipper - viola d’amore
Barbed Wire for Kisses is a spellbinding performance of storytelling
and music, in which the narratives of families in one small community
tell the bigger story of the First World War.
More...
Lives and deaths on several fronts are played out without leaving
the boundaries of an English parish. The trials, tragedies and triumphs
at home open a human window onto the trauma that shaped the twentieth
century.
Drawing on material from the Lincolnshire County Archive and using
music that is traditional, original and adapted from composers and
writers of the period (Butterworth, Finzi, Gurney, Hardy and Housman),
storytellers and musicians invoke an English rural world in crisis,
a world that is both remote and familiar.
“A wonderful piece of storytelling.”
“Startlingly immediate!”
“As immersive and as deeply engaging as a feature-length film or
a full-length novel.”
“By the end of this powerful and moving performance I felt as though
I had not only walked its streets but worshiped at its church, and
knew personally everyone who lived there.”
“Full of sensuous strength.”
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Recorded | Produced | Mixed |
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Dipper Daniels: Sleeping Giants (2012)
Recorded | Produced | Performed
John Dipper - fiddle, viola and concertina
Luke Daniels - accordion, guitar and vocals
John Dipper and Luke Daniels take you on a musical journey exploring
our forgotten traditional calendar and annual festivals.
Sleeping Giants is a collection of music and songs compiled from
and inspired by English manuscripts, traditions and customs which,
over countless generations, from one year to the next, have fallen
by the wayside.
More...
Time has taken its toll on the ritual and festive year. Following
the ravages of the Black Death and the collapse of the feudal system,
the shortage of argicultural workers meant that landlords would
compete for peasant's labour by offering higher wages and more freedoms.
Estimates vary, but it is reckoned that, at certain points in our
history, the common man could count on well over one hundred official
days of holiday and festivity in a year.
For many reasons, the festivities and rites that have seen countless
generations from season to season and from one year to the next
have gradually fallen by the wayside. Changes in calendar have often
served to move festivities from their original date just far enough
for them to lose their original context.
Over the last 40 years, gradually, people have been uncovering,
reviving and bringing back to life, these slumbering giants to guide
us through the year once more.
Respecting the old adage of; convention can be broken, tradition
must be respected; but only when you know which is which, here is
an updated soundtrack to the ritual year, which will cause more
giants to be revived.
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Richard Lumsden
and John Dipper: Sunshine Takes You (2012)
Performed (fiddle)
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Performed
Hugh Lupton - Storyteller
Chris Wood - fiddle and voice
John Dipper - fiddle
Rob Harbron - concertina
Arthur Ransome is best known as the author of Swallows and Amazons.
What is less well known is that as a young man he went to Russia as
a journalist, was swept into the maelstrom of the Revolution, collected
a rich mass of fairytales, and became a spy. During the six years
he lived in Moscow he played chess with Lenin and fell in love with
Trotsky's secretary, Evgenia Shelepina.
More...
Through history, legend, and fairytale, Hugh Lupton's Praise Song
for his great uncle tells of the extraordinary story of Arthur and
Evgenia’s escape through Estonia on horse and cart - with a stone
from Peel Island on Lake Coniston in Arthur's pocket, and the knowledge
that if caught, they would both be shot.
As the boundaries between fairytale and reality twist and fade,
our various heroes put their faith in talking horses, a utopian
future, and the power of a stone talisman to get them home.
"Arthur Ransome is best known as the author of Swallows and
Amazons, but the decade or more prior to this that he spent in Russia
and the Baltic states continues to fascinate.
His great-nephew, Hugh Lupton, one of Britain’s most distinguished
performance storytellers, has recorded a “praise song” to his famous
relation, The Homing Stone. The title refers to a stone that Lupton
imagines Ransome finding and clutching as a talisman through all
the dangers that beset him and his beloved Russian wife-to-be on
their escape from Russia in 1919.
Lupton tells the story in haunting, alliterative rhyme, adding
subtle references to the Caucasian fairytales (published by Ransome
as Old Peter’s Russian Tales) and many affectionate jokes.
Chris Wood’s music is romping, ribald and romantic by turn. Christina
Hardyment, The Times
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Methera: In
Concert (2010)
Performed
Lucy Deakin - cello
John Dipper - fiddle
Emma Reid - fiddle
Miranda Rutter - viola
Reviews...
"Methera's trailblazing debut CD appeared in 2008, since when
they've been creating a stir with their intense and involving live
performances. An ensemble ever more confidently exploring that murky
territory lying between folk and chamber music - and having a whale
of a time doing so. As live recordings go, this is state of the
art." fROOTS Magazine
"Innovative chamber folk: Lucy Deakin (cello), John Dipper
and Emma Reid (fiddles) plus Miranda Rutter (viola) are an ensemble
fast-garnering critical acclaim for their roots based music. Recorded
live at London's Cecil Sharp House in the Autumn of 2009, their
debut album reflects the quartet's thrilling, innovative blend of
folk and chamber styles. Touches of Irish Jigs arrive with stately
confidence, leaving you marvelling at the intricacy and skill on
display. Also featured is the esteemed trio of Kerr Fagan Harbron,
who add a special dash of folk flavouring to the proceedings and
enable 'Three Galleys' to act as a wonderful climax." Musician
Magazine
"If you have doubts over whether the string quartet is a natural
medium for traditional music - and I did - the Methera will leave
you converted. This young foursome plays with a sense of flow and
freedom that can only come through a deep understanding of the idiom,
yet at the same time the player's early classical training means
the group takes the chamber ensemble concerns of intonation, balance
and textural clarity in its stride.
The music on this, Methera's second album, ranges from English
hornpipes and jigs to landscape-inspired originals. The skilful
arrangements are unfussy and rich in contrasts, with the group happy
to explore colours and voicings rather than experiment with form,
effects or tricksy time signatures. There are no attention seeking
viruosics, but each instrument has space to shine, from Lucy Deakin's
bobbing and weaving cello in Stepping Stones to Emma Reid's sweetly
singing fiddle in her Magdalenas vals, a real charmer of a tune
that turns on a gently rocking, falling figure inspired by a phrase
in Bach's E major Partita.." Peter Somerford
- The Strad Magazine
"There is something majestic about Methera. With their line-up
of cello, viola and twin fiddles, their precise arrangements just
about define chamber folk, turning their traditional tunes and folk-based
compositions into the ideal soundtrack for a court masque.
I confess that on seeing them live, I was impressed but curiously
unmoved, but this recording suggests that it was just an off night
for either them or me. There is emotional depth at the root of Methera's
playing, whether it's drawing out the earthy antiquity of 'The Gower
Wassail' or conjuring up the untameable spirits of the air - on
'Stepping Stones', and fire - in a set cunningly titled 'Fiddle
Jigs'.
The live recording allows the music to breathe and, in spite of
the expertise on show, there is a thrilling spark of danger throughout.
Nancy Kerr's arrangement of 'Three Galleys' sees the quartet joined
by Kerr Fagan Harbron to dramatic effect, adding further density
to the layered strings, before leaving it to the quite remarkable
four-piece to close on the quite dazzling 'Old Tricks'/'Wittenham
Clumps', on which it's hard not to imagine powdered aristocracy
shaking their wigs and swinging their pantaloons and crinolines
in a quite indecorous manner." Oz Hardwick
- R2 Magazine
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Performed (fiddle) |
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Performed
Lucy Deakin - cello
John Dipper - fiddle
Emma Reid - fiddle
Miranda Rutter - viola
Reviews...
"Methera choose and compose the most wonderful tunes, their
string sound is sweet and clean, their decorations are subtle and
expressive, their rhythms are exciting, catchy and quirky, their
pure intonation makes even the most extreme discords sound fantastic,
and their arrangements are original, uncompromising and clever.
They make those strings ring and shout, and they make them whisper
and melt. They can do a jaunty, jolly tune set, or create an almost
mystical mood in which time almost stops. It doesn't get better
than this!" Fiddle On Magazine
"Methera's line-up is totally conventional, yet very unusual.
Emma Reid and John Dipper play fiddles, Miranda Rutter plays viola,
and Lucy Deakin plays cello. But how many classical string quartets
include in their repertoire dance tunes by the Somerset knife-grinder
Henry Cave?
Perhaps more should, because traditional English music such as
'Henry Cave's Hornpipe' or 'Mount Hills', are simply gorgeous when
played by a string quartet. It works so well because, although this
is a classical formation, Methera don't turn their material into
classical music. It is significant that they learn the pieces and
play without sheet music, so it is lively and risky. But neither
is this a trad session on posh instruments. Methera's musicians
play with all the accuracy and intensity that distinguishes chamber
music. It is original and highly enjoyable. As well as traditional
tunes, Methera play some of their own compositions and those by
their contemporaries. A tune inspired by a 17th-century astronomer,
but recently written, in which Enlightenment ideas and more contemporary
questioning of the cosmos rub up against one another, exemplifies
what they're up to. 'Copernicus' is by Robert Harbron, who recorded
the album and has captured Methera's live performance beautifully.
They are also keen on Scandinavian music, perhaps because the sharp
clarity of this suits them. But there is nothing winterishly bleak
about this album - rather a gentle glow of enjoyment pervades the
music and Methera's performance." Julian
May - Songlines Magazine
"There can't have been too many of us lying awake for nights
on end thinking "if only someone would unite the rich texture
of the string quartet format with the depth and integrity of traditional
music, if only..."
However those who have brooded for perhaps years in this fashion
can now dispense with the Sominex as Lucy Deakin, Miranda Rutter,
John Dipper, Emma Reid on cello, viola and fiddles respectively,
inspired by the creative musician's need to innovate and experiment
have done just that. Already feted by BBC Radio 3's Verity Sharp
(Late Junction) most artists would never risk, much less accomplish
so wonderful a rabbit-from-hat as is realised here. The surprise
of the year to these ears; an untried concept, but immaculately
done, it's hard to argue with music this plucky and adventurous.
Sometimes new wine and old bottles aren't incompatible." Clive
Pownceby - The Living Tradition Magazine
“The music ranges from traditional tunes to recent compositions
with wonderful melodies and beautifully constructed harmonies. Lovers
of both traditional folk and classical music will revel in this
innovative and perfectly paced virtuoso album that successfully
combines the integrity of traditional English music with the fine
texture of a classical string quartet.” Rosie
Upton - Bath Chronicle
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Halliard featuring Nick Jones: Broadside Songs (2006)
Recorded, edited and mixed with Ralph Jordan | Performed (fiddle) |
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Recorded | Performed (fiddle) |
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Jim Causley:
Fruits of the Earth (2005)
Performed (fiddle) | Composed |
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John Dipper Band with Alice Jones E.P (2005)
Recorded | Produced | Performed
John Dipper - fiddle
Michael Beeke - bagpipe, tuba and recorders
Alice Jones - vocals, clarinet and whistle
James Tween - melodeon
“Meltingly fine music” Verity Sharp - BBC Radio
3 - Late Junction |
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Performed (fiddle) | Composed |
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Boka Halat: Drummer (2004)
Recorded | Edited | Mixed | Performed (fiddle) |
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Performed (fiddle) |
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Recorded | Produced | Performed (fiddle)
Reviews...
"The English Acoustic Collective are the finest guardians
of the English vernacular music tradition" Judith
Weir - BBC Radio 4
Top 10 albums of 2004
"This is precisely the dig in the ribs that English folk needs."
Siobhan Long - The Irish Times
"The best recording of purely English music in years. Highly
recommended." Jim Lee - Dirty Linnen -
USA
"Any album with Chris Wood singing on it has a major advantage."
Nick Beale - fROOTS Magazine
"To masterclass standard, the tasteful EAC have pulled out
all the stops for an exquisitely packaged set... Anyone who cherishes
musical adventure with a firm grounding will be enthralled by this
intriguing and often profound collection. A thing of beauty."
Clive Pownceby - BBC Radio 2 - Folk on 2
"With its imaginative beauty, inventiveness and outstanding
playing, 'Ghosts' is destined to haunt us for a very long time.
These superb musicians provide us with a real celebration of the
English tradition in the 21st century." Fiona
Talkington - BBC Radio 3 - Late Junction
"The concept of the album is unique in that it is bringing
all the tradition and heritage of this country’s music together,
showcasing it and then moving it on. The scene has been crying out
for something like this for years. It is an education of the finest
order and should go down in history as a defining collection that
can be looked upon as such by generations down the line." Phil
Daniels - Folking.com
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Patterson Jordan Dipper: Flat Earth (2002)
Performed
James Patterson - guitars and vocals
Ralph Jordan - guitars bouzouki, cittern, concertina, bass guitar
and hammond organ
John Dipper - fiddle and concertina |
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Performed on two tracks |