Sedayne Astray Volume 5 : LAMACHREE & MEGRUM / ploughmyth 11195


~ Disk 1 : LAMACHREE / 75.41 ~


i) Solo Improvisation # 1: LAMACHREE & MEGRUM (1st Set) / 4.00
(dumbek (= Arabic chalice drum) / moothie (= Chinese wooden frame harmonica by Hero - "48 holes") / assorted bells & singing)

(see note for Lamachree & Megrum (2nd Set) below....)

When first I gaed to sair the frempt : Lamachree and Megrum
It was through Auchtidor I sceemt : Auld grey Megrum

The auld guid wife smokes in the nuek : Lamachree and Megrum
Orderin at the throwder cook : Auld grey Megrum

The next I gaed tae Middle Third : Lamachree and Megrum
A better's nae aboon the yerd : Auld grey Megrum

Took a turn at Middle Thack : Lamachree and Megrum
Aye there got meat to mak me fart : Auld grey Megrum

I there got buttered bread & cheese : Lamachree and Megrum
An' oil to keep my sheen in greese : Auld grey Megrum

I took a turn at Yoakieshill : Lamachree and Megrum
The toughest place I e'er gan til : Auld grey Megrum

A herb tae hack an lash the loons : Lamachree and Megrum
There's nae his like in buchans loons : Auld grey Megrum

I hear yer gone tae Mains o' Culsh : Lamachree and Megrum
there ye'll get the boys tae plunsh : Auld grey Megrum

And in the mornin e'er ye rise : Lamachree and Megrum
An he's on ye wi mony cries : Auld grey Megrum

Gets up me boys it's six o' clock : Lamachree and Megrum
An loanies men are a' a yoak : Auld grey Megrum


ii) VALS EVENTYR # 2 / 13.15
(crwth / gardon / Hohner Melodica Alto / penny whistle / assorted bells & birds etc... )

Second version of this theme which initially arose from crwth improvising during storytelling session in various Northumbrian schools & woodlands autumn of 1995, hence VALS (waltz) EVENTYR (the Norwegian word for Folk Tale, particularly those found in the collections of Asbjorsen & Moe). The melodic lines are based on certain Scandinavian modality, though to dance it in waltz time might result in dismay; whilst this improvisation evolves within many considerations, dancing, I fear, is the very least of them.


iii) SJOFLOYTEN # 1 / 8.48
(assorted bells / Tibetan singing bowls / dumbek / talgardon / whistle flutes / bird)

(See note for Sjofloyten # 2 below...)

iv) A FIDDLER AT HARE'S WEDDING / 10.10
(rain / birds / dumbek / crwth / koboz / monkey drum / goat / rattles / melodica / rain)

(see Supplement)



v) Solo Improvisation # 2: MAIA LANGSPILLANS / 5.32
(hummel (= 5 string Scandinavian zither) & alto melodica)

The first part is an improvisation on the Maia theme as heard on Splendor Solis; the second explores the ancient modality, typically Scandinavian, with themes touching on both Hearthdance & Harvest Myth. The hummel (above) is the Swedish counterpart to the Icelandic zither known as the Langspil, or long-harp; an ancestor of the more well known Appalachian Dulcimer, it has a diatonic fretboard with two to four melody strings played against several drone strings.


vi) FURROW MYTH / 8.40
(ney / bowl / rattles / bells / koboz / crwth / whistle flute / dumbek / bird)

Dance theme exploring Eastern European modality; as the plough darkens the land with furrows torn to rend at last the barren fertile. Commissioned by Hermione Harvestman (see note for Pharos Plough Myth below).


vii) Solo Improvisation # 3: MAINS O' CULSH / 1.02
(flute / dumbek / angklung)

viii) ONSET: FLUTE SONG / 3.24
(dumbek / tabla / crwth / bird flute / whistle flute)

ix) HARVEST MYTH 1995 / 14.51
(crwth / bells / dumbek / ney / bowls / melodica / whistle flutes / birds)

Perhaps the most fully integrated take on the Harvest Myth theme thus far; certainly the most consistent.


x) CAUSEWAY / 5.35
(singing bowls / anklung / birds / ney / alto clarinet)

Tidal pathway at Holy Island, Northumberland; there are those who say this is best thing I've ever done...


~ Disk Two : MEGRUM / 76.30 ~


i) MESHTU: BREVIS / 2.59
(bells / rattles / saz / alto clarinet / dumbek / melodica)

ii) Solo Improvisation # 4: A HERB TAE HACK AN LASH THE LOONS / 4.01
(bells / harmonic pipe / rabab)

the harmonic pipe is fashioned after instruments from Eastern Europe & Scandinavia where they are traditionally made from birch bark; tourist examples can be had made from plastic toilet pipe wrapped with birch bark; the one here is simply a random length of of copper pipe with a mouthpiece from a penny-whistle. There are no finger holes, just the open end of the pipe itself, thus the instrument can be played with one hand leaving the other free, in this case to bow the rebab, circa 1983, constructed from a single branch of windfallen ash, a belly of vellum and strings of sheep gut ; the bridge might well be the tooth of a seal...


iii) Hearthcharm: LAMACHREE & MEGRUM / 15.06
(koboz / bird / dumbek / crwth / bells)


iv) TIDE TURN AT HOLY ISLAND : THE LAST BATTLE / 18.07
(singing bowls / bells / gongs / flutes)

A documentation of process rather than sentiment, though in this case its difficult to differentiate between the two; process as sentiment rather than programmatic depiction: silence bar the birds that race to clear the leavings of the tide / curlews / distances / layers / the Cheviots dark / shadowed / brooding / the red sea parting under a low and bloody sunset / a stain spread through the smoke rising from the stubble fires on the mainland as though in the terrible aftermath of the last battle.


v) Solo Improvisation # 5: GARDIRINS / 4.01
(jouhikant (= bowed lyre with horsehair strings) / bells / Inuit fish flute / voice)

And I wish I was where the gardi runs / by the brawlin wheat an the yellow whins / aye an lowpin ower the bogie lins at the foot o glen lachee / aye an weenst I had twa braw lads, twa braw lads, aye an twa braw lads / aye an weenst I had twa braw lads but noo I havnae neen / and I wish I was where the gardi runs / by the brawlin wheat an the yellow whins / aye an lowpin ower the bogie lins at the foot o glen lachee / oh one was killed in lowlands fair, the lowlands fair, aye the lowlands fair / one was killed in lowlands fair; and the ither ane wis drowned in the sea / and I wish I was where the gardi runs / by the brawlin wheat an the yellow whins / aye an lowpin ower the bogie lins at the foot o glen lachee / aye they crowded in so thick on him, so thick on him, so thick on him / they crowded in so thick on him he couldnae fight nor flee / and I wish I was where the gardi runs / by the brawlin wheat an the yellow whins / aye an lowpin ower the bogie lins at the foot o glen lachee / for weenst I had twa braw lads, twa braw lads, aye an twa braw lads / aye an weenst I had twa braw lads but noo I havnae neen / and I wish I was where the gardi runs / by the brawlin wheat an the yellow whins / aye an lowpin ower the bogie lins at the foot of glen lachee

(the words are traditional Scottish, albeit subject to diverse mondegreens; the melody was entirely spontaneous for this & subsequent performances)

vi) PHAROS PLOUGH MYTH / 6.50
(ney / koboz / crwth / dumbek / bells / rattles/ melodica / bird)

Not a commision as such though Hermione used this for her dance piece Furrow Myth; the commissioned Furrow Myth appears on disk 1 of this set, see above...


vii) BIRD IN SPRING / 3.16
(rabab / harmonic pipes / bells / voice / bird)

Bird came in spring / dashing in leaf fresh branch and meadow flower / giving out in song / worm-praise and thanks / worm-praise and thanks / Bird saw saw blossoming / blackthorn / and whitethorn still green / Bird saw moon in rivers / and sang there to reflected stars / tracing patterns / from rock to star / from rock to star / among these flying / Bird over river flying / where the night in blackness came / back-lit by Kema's fire / Kema saw Bird / and held to Bird / and Bird flew to hand / but hand seized Bird / and took Bird to pot / on Kema's bright fire / aye Bird looked in water in Kema's pot / what is that there in that water? / and Kema said pot was a boiling of broth / and told to Bird what she had in there / barley corn / neeps and beans / apples and tatties / and many herbs gathered in / and one last thing I would have in there / and thing is Bird / but Bird said Kema what is this I see in there swimming? / I see trout also in there swimming where Bird should be / and Kema enraged plunged hand into pot / and with her screams Bird took flight / and Bird in flight gives voice to joy / leading Kema out to Kema's well / there to bathe hand in cool well water / but Kema had words and with them cursed Bird / but Bird being quick that curse missed Bird / falling instead into that well / where the water in ice around Kema's hand / Bird in flight gave voice to joy / and Bird flew among trees til resting it came / on the coat of the bear that slept before fire / Bird woke Bear with a new song then / sung of spring sun and quickening earth / out of house Bear then came / Bear saw spring in that world then / seeing Kema held fast by ice in well / Bear broke ice and went out into the world / aye Kema sang thanks to power of Bear / silently cursing cunning of Bird / Kema sang thanks to the power of Bear / silently cursing the cunning of Bird

(a tale of spring and renewal told in the gathering darkness of October thus underpinning the duality of the narrative; effectively a sequel to the narrative used on BIRD 2004)


viii) SJOFLOYTEN # 2 / 12.40
(mbira / bells / dumbek / diverse wood & bamboo whistle flutes / birds etc...)

The title Sjofloyten refers to Norwegian 'sea-flutes', which is to say any flute of foreign origin & not of native construction, thus most of the flutes I use might be considered as Sjofloyten; bamboo & wooden whistle flutes from diverse corners of the globe, many brought home by relatives & friends as gifts, and many of those manufactured, no doubt, exclusively for the tourist trade; it was one such flute brought back from Yugoslavia by my grandparents circa 1967 that started my interest in little instruments in the first place.


ix) VALS EVENTYR # 3 / 4.54
(melodica / crwth / dumbek / whistle flute / goat / bird / bell / ney / rattles etc.)

The first 90-seconds of this piece appeared on the Discuss CD of musical miniatures Network Volume Two as PHAROS / VALS / EVENTYR, albeit in a very different mix; it's heard here in its complete & unadulterated entirety; to dance where winter already weaves between reephook & plough / with thanks to Ennio Morricone for Il Mio Nome E' Nessuno...

x) Solo Improvisation # 6 : LAMACHREE & MEGRUM (2nd Set) / 4.11
(dumbek / moothie / assorted bells / goat & singing)

first I gaed to Tyrie school : Lamachree & Megrum
they a' took me to be the fool : Auld grey Megrum

I gaed up into Sautwards: Lamachree & Megrum
It was to get the game o' cards: Auld grey Megrum

Geordie Burnett began to flight: Lamachree & Megrum
For brakin his tobaccy pipe: Auld grey Megrum

He got right up an' hit at me: Lamachree & Megrum
It lichted just unto my e'e: Auld grey Megrum

Gin it hadnae been for my clergy coat: Lamachree & Megrum
I'd gi'en him another knock: Auld grey Megrum

I gaed up tae Arberdour: Lamachree & Megrum
There I got lassies three & four: Auld grey Megrum

Betty Barbour was full o' keen: Lamachree & Megrum
An' she had twa bonny blinkin e'en: Auld grey Megrum

An' I gaed up tae Skellybae: Lamachree & Megrum
It was tae gather berries blae: Auld grey Megrum

I gaed to the burn to tek some trout: Lamachree & Megrum
They barred the door an the held me oot: Auld grey Megrum

Now I'll gan hame an mind my sqale: Lamachree & Megrum
They'll nae mair ca' me the fale: Auld grey Megrum


first I gaed to Tyrie school : Lamachree & Megrum
they a' took me to be the fool : Auld grey Megrum


Saving the libretti (both sets of which are from the Grieg & Duncan collection of traditional Scottish folk song) all elements of these performances are freely improvised within a notion of traditional narrative modality, and though the literal sense remains in several places obscure, this is largely thanks to said libretto, which in both cases appears to be hyperbolic reportage concerning jobs of journey-work. Whilst the exact meaning chorus remains unclear, it provided the names of the two hares which replaced the eponymous beasts in my telling of the traditional gypsy folk tale The Squirrel & the Fox (see John Sampson XXI Gypsy Folk Tales, The Gregynog Press, 1933 - republished in paperback as Gypsy Folk Tales by Robinson in their Country Classics series in 1984) themselves inspired by the symmetrical device remembered from a dream circa 1990 and thereafter realised in woodblock form, though the connection wasn't made clear to me for another five years.