Featuring artfully sparse, subtle accompaniment from Capercaillie’s Ewen Vernal (bass) and Salsa Celtica’s Guy Nicolson (tablas), its eleven tracks continue to extend McManus's musical explorations both within and beyond the Scottish tradition.
The title is a pun on the Gaelic phrase ceol mhor, or 'big music', referring to the noble piobaireachd tradition of the Highland bagpipes, a form rendered here with hauntingly stark grandeur in 'Lament for the Viscount of Dundee'. Other tracks range from Burns’ 'Ye Banks and Braes' to Charles Mingus’ 'Goodbye Pork Pie Hat', with Breton and French-Canadian material again featuring prominently alongside Scottish and Irish tunes.