It’s been quite a few years since Highland fiddler Graham Mackenzie’s debut album Crossing Borders – that was actually way back in 2016, amazing how time just disappears. It was a very, very good outing by a massively talented young musician and I remember listening to it and wondering where all this new talent in the Celtic scene comes from!
Since then, he has been a member of Assynt (whose new release I will write about shortly), The Grit Orchestra and probably quite a few other things. And now we have The Dawning.
I’m listening to the album and Graham’s playing as a non-fiddler myself (I tried it when I was eight and ran away after two hopeless lessons), but here goes…
I feel there’s a uniqe directness to his playing; I can’t find the exact word so that will have to do. As technically accomplished as he is, his playing focuses on the essential, avoiding any unnecessary flourishes and flash. It’s anything but dry or by-the-numbers – au contraire, his playing feels to me very intimate precisely because there are no distractions. It’s clear, it’s so elegant, and it’s there.
And, of course, playing with him on this album is a fabulous ensemble of the genre’s finest musicians, with production by Michael McGoldrick. Brilliant people, brilliant work.
Of the album’s ten tunes, six are Graham’s originals. I have to say I think I enjoy his own tunes the most on this album; he has become a composer to pay attention to.
As I’m a hopeless romantic and respond to music that triggers imaginary movies in my mind, I especially like two pieces here. Earn River is a gentle and utterly beautiful jig that flows along like, well, probably the titular Scottish river on a summer’s day.
Belmaduthy could be that one’s sister piece, a lovely waltz that begins in a slightly melancholy mood but halfway through locks into a major key and carries echoes of Nordic folk tunes (in my Nordic ears at least).
Not that I have any complaints for any of the other tunes, and I want to mention Bridge Street Reels as a truly delighful, slightly jazzy piece that I feel combines Celtic, American and even French elements.
As The Dawning closes with a fine rendition of Kirkhill, I am left with a deep satisfaction – and I still wonder as I did in 2016: where does all this talent in the Celtic scene come from? But I don’t need the answer – just keep this brilliant music coming 🙂
FolkNotes 
A great description of Graham’s playing. I think you’ve captured that perfectly. It’s a great album
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Thanks Jacky 😊
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