Music without borders

Dylan Fowler’s Guitar Journeys have brought him to the island of Anglesey, Ynys Môn, the most northerly part of Wales, which positively thrums with the ancient and mysterious vibrations of eras that saw the last refuge of the Druids and subsequent Roman settlements and further back to earlier Neolithic communities. The setting of the Canolfan Ucheldre in Holyhead, with its Romanesque styling and high, vaulted ceiling, is perfect for almost any musical situation and a solo guitar recital, while being intimate can positively fill the rafters with glorious sound. Two pieces, Seren y Gogledd and Taith Madog, introduced us to Fowler’s beautiful cedar and flame maple guitar, a custom-made instrument by Avalon Guitars from across the way in Newtownards, Northern Ireland. In his hands, the open tuning C-G-C-F-G-C, which is the dropped version of the universally loved DADGAD but with more range with subtle use of the capo, the music shimmered. Fowler’s multifaceted technique allows him to bring together, often in a single piece many surprising harmonic and rhythmic colours. Most guitarists worth their salt will accredit the towering influence of Egberto Gismonti at some point in their own musical journey; his unmistakeable voice as a composer, guitarist and pianist leaving an indelible mark and the piece Joy, which Fowler wrote originally, in the 1990s, for his own 9-piece band Frevo, showcased fluid, rhythmic virtuosity and musical taste. Intriguing musical segues continued to pave the journey, with the haunting folk song Black is the Colour, covered by 100s, including Nina Simone, and Erghen Diado, a song made famous by ‘le mystère des voix bulgares’, the vocal ensemble that introduced the world to this entrancing, closely harmonised voicing. Fowler’s love of deftly crafted harmonies continued with Zed, a tribute to jazz pianist Bill Evans, and a unique arrangement of James (tribute to James Taylor) by Pat Metheny. The ‘theme’ of the Guitar Journey series was one of freeing up genres, labels etc. and musical borders, so to take us to the interval was Beyond Borders, a palette of pastoral colours, which led to a fascinating version of Lennon/McCartney’s Norwegian Wood, teasing relationships, perhaps between the mixolydian mode and the Indian thaats scales. Returning after the interval, excuse the pun, Fowler turned the harmonic dial up several notches, with a version of John Coltrane’s Naima, a landmark composition that inspired musicians such as John McLaughlin and Ralph Towner and still sends shivers of delight down the spines of connoisseurs of composition. An incendiary Indian influenced composition followed, Six Thaal, leaving us in no doubt that Fowler could whip up a storm under the tranquil rafters of the Ucheldre. A Gismonti composition Palhaço, almost a signature tune, was preceded by the triple-feel Gwêl yr Adeilad (behold the building), a song of longing. The Gismonti arrangement was new to the stage and Fowler should feel confident in its surety and power. I thought it was terrific. The Brecon Beacons pulled us further south with the legend of Llyn y Fan, and then, inspired by the industrial past of South Wales, where Fowler hails from, Rhigos a described by the composer with the apt oxymoron, possessing an ‘ugly beauty’. As if things couldn’t get more eclectic, the penultimate piece, Dawns Timo (Timo’s Dance) dedicated to Finnish ‘kantele’ (a kind of Finnish psaltery) player, Timo Väänänen, who Fowler has often collaborated with, jangled with unquestionable joy. If ever there could be a better descriptive word or phrase for ‘butterfly’, than the German ‘Schmetterling’ then it must be the Welsh Iâr Fach yr Haf, ‘Little Chicken of the Summer’, the valedictory tune that ended a truly delightful and ultimately moving recital by one of today’s most innovative and sensitive guitarists. I look forward to seeing him again soon. ©TIM PANTING (former Reviews Editor of Classical Guitar Magazine)