Classical Guitar Magazine – October 2006 – CD Reviews

The Modern Guitar Trio

Vincent Lindsey-Clark: Sonata Melodica. Roland Gallery: Two Fusion Pieces. Roland Chadwick: The Wendy House

HomeFront Records HF0101

The Modern Guitar Trio comprises Roland Gallery, Vincent Lindsey-Clark (both formerly of the Segovia Guitar Trio) and Roland Chadwick; as well as all three of them being virtuoso guitarists, they also just happen to be extremely good composers in the own right. Their belief in their compositional abilities is reflected in their programmes which consist expressly of material written individually by all three players (a fact that they claim is unique in the ensemble field), therefore it is highly unlikely that a purchase of their recordings or an attendance at their recitals will bring forth well-known guitar-trio fare; speaking from personal experience (I saw them in concert at the Dillington Summer School in 2005), this is in no way a daunting prospect, their compositions are of the highest quality and are never less than entertaining.

The four-movement Sonata Melodica by Lindsey-Clark opens up proceedings in, as one would expect from the title, very lyrical fashion. The composer himself describes this composition as a celebration of melody and that it certainly is; tunes abound from every corner of this brilliant and exciting piece whether it be in the bright, vivacious sections or in the darker, moodier passages. It is altogether a highly rewarding work to listen to with a clear and uncomplicated texture concluding with a spirited Finale of uninhibited fun.

Roland Gallery’s contribution to this programme uses the word ‘fusion’ in the title due to the two works combining the elements from rock, jazz, classical and world music. The first one, titled Chameleon is an eight-minute work of varying moods and pace and cleverly uses the same thematic material in different guises – hence the title. The second piece, Fear of the Dark utilises the ‘jazz’ sound a little more than its counterpart and makes for another entertaining work.

Good as the two preceding two pieces are, pride of place must go to Roland Chadwick’s emotive composition The Wendy House, a work written as a form of tribute to the composer’s disabled 47-year-old sister and a piece I have returned to time and again for further listenings. This five-movement composition contains some of the most beautifully evocative writing for guitar ensemble this reviewer has heard in many a day. After reading the story of Chadwick’s sister from the liner notes and then listening to this magical work I defy anyone not to be moved by the sheer poetry of this writing. In between the three slower movements are two contrasting ones consisting of a zany waltz and a highly charged, rhythmic piece, but it is in the slower passages where the composer shows his very real talent for composing extraordinarily attractive music. There is no overstatement, no pomposity or grand empty gestures; it is simply music for music’s sake. The Wendy House is a hugely enjoyable and extremely well written work for guitar trio and deserves to become a standard in the repertoire.

Virtuosity, power and sensitivity are matched by all three artists and here and there one hears shades of the sound world created by the legendary Presti-Lagoya duo in the phrasing and timbres used by this exciting trio.

So here are three extremely rewarding and out-of-the-mainstream works done with style in every department in a recording which is uniformly good and clear. These three pieces are all highly impressive and I strongly recommend this brilliant new release.

Steve Marsh

JazzReview.com®

CD Title: Size of the Earth for Comparison

Year: 2005

Record Label: Resonator

Review: Experimental World Music can’t really be defined as a “style”, but that is exactly what Roland Chadwick appears to be excelling at these days. His compositions usually have no single recognizable ethnicity, but are always brimming with a cross-ethnic style of production and performance. His latest full length album entitled “Size of the Earth for Comparison” was written, produced, and nearly entirely performed by Chadwick in his London studio.

Crossing the finish line in just under an hour, Chadwick manages to squeeze 12 very interesting and somewhat unusual arrangements into the overall finished product, giving the album an extremely experimental feel. Most of Chadwick’s pieces are filled with layered guitar work, accented with a multitude of varying live & synthetic orchestral instrumentation and percussion. Beginning with “Elephant Song”, the album launches into a heavy percussion and simple fluted melody bringing about the imagery of a lush rainforest. From there, songs like “Any Time Now” and “Demelza” feature the guitar style that Chadwick is recognized for. “Thinking A-Loud #1” is a synthetic-horned arrangement that sounds like the soundtrack to a dark and dreamy Brothers Quay short; this style of experimental composition suggests movement and freedom in a way that few can explain without first-hand exposure to the music itself.

Moving on, “A Day: Stolen From Summer” is a dreamy glass-like piece that drones in rhythm with the underlying percussive melody, and “Inform Your Face” has the same dreamy nuance, yet is brought to life through the dark and booming bottom end of a grand piano and Chadwick’s steel stringed flamenco fretwork. “Thinking A-Loud #2 & #3” don’t really continue where the initial piece left off; rather, they create an odd break from the subtle feel of the other pieces. “The Silent Memory of God” spotlights the artist’s hefty multi-tiered/pseudo-classical fretwork, and more excellent flamenco movements. “Ozymandias” has a droning trance-like feel, while “Come the Winter, all Fragrance is Lost” is obviously Oriental in construction and rather intense with it’s heavy Gamelon melody and echoing Gong and Bell blasts. The album closes with the glitched bleeps and digital crunches of electro-synthesis in the title track: “Size of the Earth for Comparison”.

Ranging from contrived tech-experimental to organically friendly sounds, Roland Chadwick is able to span vast areas of musical know-how with his works, and with the help of several fellow instrumentalists, is able to bring each one of these wondrous compositions to life. But, this isn’t your Mother’s “Electro/Organic Progressive Experimental World Music”.

Reviewed by: Dustin Michael

Copyright© 2005 JazzReview.com®. All Rights Reserved

Classical Guitar MagazineMarch 2005

ONE - Roland Chadwick Resonator Records RES0102

In this programme of contemporary compositions for solo classical guitar, Roland Chadwick reveals not only his remarkable technical expertise as a player but also demonstrates his outstanding talent as a composer of some insight. Without exception all the works on this CD are of a very high quality. The two ‘songs’ from the Songs and Dances are both highly lyrical works, quite moving, and provide a stark contrast with the two ‘dances’ which follow. The Dance from the first one is a simply stunning piece of writing; hugely dramatic and easily the most exciting one on this programme.

The five-movement Dances for Winter Oakwood have a very ‘English’ quality to them and demonstrate another stylistic side to this composer. The suite begins with Processional (On Millpond Road), which has a beautiful theme sounding for all the world like it could be a traditional folk song. The finale to this set goes full circle with another lovely melodic and calm movement bringing Dusk on Millpond Road. In between there is a gentle dace (Round Renny Oakwood); a delightful carol dedicated to the Solstice; and another rather energetic dance, with a brief melodic interlude midway through.

Partita No. 2 shows the more impressionistic, avant-garde side to Roland Chadwick in this 4-movement work. This is another highly interesting, engaging composition, full of energy and passion.

The recording finishes in lyrical style with one of this composers most beautiful pieces, the delightful Maria.

The recording (by John Taylor) is top quality, as is the playing and the writing. A superb new release all round.

Recommended.

Steve Marsh

Minor 7th

October 2004

January/February, 2005

Roland Chadwick, "One", Resonator Records RESO 102, 2004

In a perfect world, I would be writing individual reviews such as this for each of the compositions on this disc. I have spent countless hours listening, learning, performing, and teaching the music of contemporary greats such as Brouwer, Domeniconi, and Dyens; and to this list I will now add Roland Chadwick. Bluntly, his music is nothing short of genius. The works that Chadwick selected for this recording cover a cross section of his oeuvre, showcasing his awesome versatility as a composer. The pieces range from a single movement gem to cohesive larger scale compositions. Each work is a delicate balance of melodic content, harmonic effect, overall form, and extended guitar techniques. In "Song and Dance No.1" and in "Song and Dance No.2" Chadwick creates evocative soundscapes that possess enormous potential for growth. He often times closes major works with passages that include both plucked pitches as well as strumming, and not once does this pairing come across as forced or ineffective, which is often the case with other composers. Separating these two pieces on the disc both physically and compositionally is "Dances for Winter Oakwood". This five movement work harkens back to baroque compositions with its careful polyphony and stable, peaceful rhythms. This is all complimented by Chadwick's excellent guitar playing, which is at the same time warm and expressive, while being clean and controlled. Feeling that a review of this scope simply does not do justice to this disc, I will leave you with my greatest praise: Chadwick's sheet music is also available at www.sibeliusmusic.com , and as his CD takes an honoured place in my collection, his works will soon too take an honoured place in my personal repertoire.

© Timothy Smith

Mandolin Maestro

Jon Massey revels in Roland Chadwick's musicianship at the Horn

Rather than waste time with any laboured points about musical criticism, this review exists simply to sing the praises of a fantastic musician, Roland Chadwick. Performing as the headline act at The Horn's regular open mike night Sunday's Blue Angel Acoustic Cafe, I was initially sceptical after hearing that he would be playing solo mandolin. Although I have not seen a great number of mandolin players, I have certainly never come across one who attacks his performance with as much verve and enthusiasm as Roland. Approaching the gig as a rock guitarist, he jumped and wheeled about the stage bashing out melody from his instrument with terrifying clarity. The energy of his performance really was a breath of fresh air. Storms of notes flowed from his fingers creating a barrage of sound, magical in it's intensity. Australian, bearded, with long grey hair, he is perhaps well dubbed the Wizard of Oz. Not only did he play, he sang. His voice has a rich folk quality to it that blended perfectly with the screaming mandolin.

I can give no greater compliment then watching him perform was one of those (sadly) rare occasions when I was transported by the music being produced. Most of all, watching him command his instrument with such skill and panache was just pure, unadulterated fun. I urge anyone with even a slight interest in live music to track him down and see his genius themselves.

St Albans Observer

"Such energy! That room will never be the same. You've changed the vibrational shape of the room!" - Carlos Bonell

"Brilliant!" - John Rebourn

"Just to say that you are a credit to the guitar: a stellar talent with a great sense of humour. You give that guitar Hell! and Heaven!"

Jeremy Steffen 17 September 2004

Dorchester Arts Centre

Tips on Oz-speak, quirky Aboriginal place names and life as a Billy Connolly look-a-like added an unusual side to the second Guitar Nights concert. Roland Chadwick’s Australian good humour put it’s mark on an evening of classical guitar music liberally laced with Latin, jazz and innovative contemporary strands.

His inventive approach to the guitar showed itself in the first piece, Taormina. This world-renowned guitarist conjures extraordinary range and expression from an instrument that almost seems to possess him at times.

His technique, combined with the freshness of his original material, and the stories that lie behind some of his compositions, made an evening of astonishing virtuoso music. Verve and the gleeful release of unexpected effects rippled through pieces that ranged from sweet melodies to the full gusto summoned by a world-class guitarist eager to take musical risks.

In the second half he treated his audience to vocals too – tough and gritty yet surprisingly appealing.

The Arts Centre is an excellent venue for this new series of musical nights – the quality of sound and intimate setting means every note can be seen as well as heard to perfection. Look out for more next season – especially if Roland Chadwick keeps his promise to return

DA – Blackmore Vale Magazine 2/7/04

Broadstairs Folk Festival 2004

This review is of the Blue Healers.

"I was at the Broadstairs Folk Festival last night and witnessed a fantastic gig by Roland. As well as his guitar solos, he was joined by a harmonica player and between them produced some fantastic, earthy, footstomping music that lifted me up and shook my senses until I thought I couldn't take any more. Spectacular stuff indeed.

Jeff Fuidge, Canterbury, Kent.13 August 2004 "

A Quiet Thing - David Daniels and Craig Ogden

"The most successful track on the album is the anonymous Shenandoah, arranged by Roland Chadwick; the pointed harmonics of the guitar and a soulful delivery combine to great effect."

All Music Guide

Ryans Gig Guide - Review of Gig on the 25th February

Roland Chadwick live at the 1/2way

A story for you. Travelling through Britain Luciano Pavarotti gets lost in Wolverhampton. Spying a man outside a club doorway he leaves his Rolls and goes to ask directions. The man looks at him and says ‘why, aren’t you the singer’. Pleased and surprised to be recognised out here in the provinces Pavarotti says ‘Yes yes I am’. ‘Well you wanna f*%*"in’ ‘urry up. You’re 15 minutes late and if you hold the bingo up there’ll be a f*%+in’ riot!’

Only in Wolverhampton.

And so to Roland Chadwick. Who is Roland Chadwick? What is Roland Chadwick like?

Roland Chadwick is a genius.

Reading his biog alone should be enough to impress. Boston Philharmonic, Liverpool Philharmonic, English Chamber Orchestra, Sydney Opera House, television and radio appearances in both hemispheres. With a typically Australian disregard for convention or stuffiness Chadwick is a composer/performer for classical guitar (and dobro, and slide, and mandolin etc) who blends influences from jazz, blues and latin styles, and seems able to move in any musical genre at will (witness his full on version of ‘Watchtower’, or the Zeppelin classic, Bron-y-Aur stomp). Even more fabulous are his own compositions, particularly the beautiful ‘Taormina’, and ‘Commuter Cowboys’ from the stunning album ‘The Revealing’. Watching a man with this level of talent is fascinating. There comes a point where the man and his music are indivisible. Possibly what’s really meant by a ‘consummate performer’. Roland Chadwick is that consummate performer and thrilling to watch and hear. His CD’s haven’t been off the in-car since I got them, and are my first choice of listening when I relax with a nice bottle of Chateau de Shite of an evening. He probably also has the distinction of being the only performer to play the half way who people will still be talking about in a hundred years.

Martin Snell

Modern Guitar Trio at the Greenwood Classical Guitar Society

In what was a first for the Greenwood a talented guitar trio "The Modern Guitar Trio" played at the Greenwood Centre. Also a first was that they played entirely their own compositions. They instilled a relaxed atmosphere by their punchy humour and the stories of behind their compositions.

The concert commenced with Cymmetry a 3 part suite by Vincent Lindsey-Clark. This delightful composition like others that followed was condensed from its original orchestral setting to guitar trio. A beautiful folky lyrical section between exciting rhythmic sections.

This was followed by Chadwick’s Three Kisses for Jenny; a composition of 3 dances written for his wife, commenced with the lively Jennies Jump. I especially liked the strident Clog Dance, which finished the set.

While much of the concert was performed as a trio there were some notable solos by Roland Chadwick and Vincent Lindsay Clark. In Song and Dance Number 3 Roland Chadwick two pieces named after streets in LA a beautiful lyrical (song) followed by a lively Tango (Dance) like piece. Later in the second half Vincent Lindsay Clark played a lovely baroque like piece inspired and written on a visit to the Isle of Sark. This was in fact a warm up to his Tarantella Diabolica a frenzied intense piece based on an Italian dance for ridding the effects of venom from a spider bite!

Continuing the song and dance theme, Song and Dance Number 4 was written by Chadwick in Australia. The first movement was soothing, inspired by moonlight over water and the Australian landscape. The second movement was rousing and contemporary as the composer had been listening to Genesis a lot at the time!

In Letter from LA Chadwick relates in music his sadness of the many homeless (Lost Angels), the Gay scene (Santa Monica) – this had a very compelling refrain and drew spontaneous applause, the attention of ladies hustling for their film career break (Sunset Strippers), and (Oscars Last Stand) sheer rock and roll.

The second half began with two interesting fusion pieces by Roland Gallery. Chameleon consisted of an 8 bar chord sequence in 5 sections. In Fear of the Dark a brooding piece in B flat minor many contemporary influences were evident including Santana, King Crimson and John Martin.

For the encore a humorous rendition of Yankee Doodle completed a splendid evening. The concert was a great success with the audience captivated by these three great guitar talents.

John Gates

Guitar Techniques Magazine - June 2003

Writing about Saurang Orchestra CD "Although Steve Vai is great, Roland Chadwick's acoustic solo on 'Children of the Sand' is exquisite."

AcoustiCity

"Roland has the most awesome live presence. Even seeing him perform a single song at a club in North London recently it was impossible not to be drawn in by his infectious enthusiasm and blistering guitar playing. With musicians like Roland, man and instrument appear to be ONE"

Darren Tansley

Roland Chadwick – The Revealing. Classical Guitar Magazine - January 2002

Here is an enterprising and very original release from one of our instruments most varied and interesting composer/performers. Just a glance at the tracks on this CD will surely tell you that here is a composer who refuses to stick to one style or instrument for very long. Don’t let the fact that Chadwick doesn’t play just “Classical Guitar “ put you off what is a most enjoyable recording with some very tuneful and genuinely inventive music.

The Mandolin Concerto No.1 in G that begins the CD just dances from the word go. No Italianate tremolos here, the mandolin almost sounds funky and very English in places too. This is a lovely work that I have returned to a number of times and that is a first because I generally don’t like the mandolin very much, or at least not the way other people have written for it previously!

Letter from LA is different again, with a gently swaying first movement, a rhythmic lilting second movement that hits you and stays, an exotic and almost sensual third movement and a rollicking final movement with multiple strums and percussive effects throughout. A truly original and excitingly performed guitar trio which any established trio ought to seek out and try: the audience will love it!

The Carabella Suite uses two metal strung guitars to great effect. One could see how the middle movement for instance which uses the Dobro Slide guitar simply would not work on the classical instrument but this matters little as Chadwick uses the instruments so idiomatically. The Final movement Commuter Cowboys is a real blast.

Three Kisses for Jenny is for harp and string orchestra and shows off Chadwick’s skill in composing for instruments other than the guitar: here is a delightful work that would grace any concert.

The only non Chadwick composition is the final Quintet in A by Richard Charlton which is a large work involving the guitar and string quartet, where real interplay is required throughout to make the piece work. Whereas the work is not as immediate in getting under one’s skin, one find that after a few plays it’s more introverted qualities are a good contrast at this point in the recording and as a result is placed in exactly the right spot on the CD.

I loved this CD from start to finish and provided you, the reader are not biased against anything not entirely traditional in style, then here is a CD that you will put on again and again. Every track is entirely different and yet every track is wonderful music. Go to your local shop and have a listen and then be prepared to spend your money on it.

Chris Dumigan