Like going down a river in a velvet-lined canoe. Scottish musicians Thoumire (concertina) and Milligan (piano) give us a journey that is at times driving and turbulent, and at other times, slips peacefully by the scenery. But at all times, everything is in control, and you feel as if you are sitting on a big aqueous bed of cool. This fine display of jazztrad combines Thoumire’s inventive playing with Milligan’s developed capacity for rhythmic and textual variation. They give each other a lot of space with many solo moments, complementing the close, but not claustrophobic partnership. A wide variety of tunes appear, between the slow and fast, as well as a wide range of composers, from J Scott Skinner, Cape Breton’s Dan R. MacDonald, to Thoumire and Milligan themselves. In track 2, ‘Joseph’s Jig’, we hear Milligan’s stylistic lead on a tune composed for his nephew. Track 4’s ‘Love Comes Quietly’ is a tribute from Thoumire to his wife, fiddler Claire McLaughlin, in which he accompanies himself on the concertina. Milligan has an uncanny ability to the make the piano sound like other instruments, such as a guitar or a drum, as on track 3’s ‘Tumble in Loch Tummel’ where dark pounding gives into strum-like chords. And Thoumire’s concertina playing, while offering a veneer of straight ahead trad, sometimes kicks tunes into near chaos only to scold them back to decorum in the next few notes, as on his version of ‘Keep it Up’. Highly recommended. Will Lamb, Am Papier, November 2001
Media Reviews
the brightest instrumentalising you're ever likely to hear...
If you're a fan of cheeky, joyful virtuoso playing, track one of this album will have you grinning from ear to ear. Simon Thoumire is the Master of the English concertina and one of those artists who fills you with both delight and despair if you play the same instrument. David Milligan is an equally talented pianist and composer and the two of them conspire here to play some of the brightest instrumentalising you're ever likely to hear.
Much variety of pace and mood characterises this CD. After the ebullient start, Milligan's Joseph's Jig tugs the heart with its dreamy textures before another set full of infectious rhythm and double dexterity kicks in. And so it continues, with bags of light and shade: passages of clear and stately grace full of space and beauty alternate with lengths of lightning-fast, densely-packed richness. Many of the expert arrangements inhabit that neoclassical landscape recently colonised by musicians such as The Two Duos Quartet, 1651 and Belshazzar's Feast where traditional tunes fill a wider ambit. Concertina and piano tones meld beautifully and the two swap accompaniment and melody honours throughout, Milligan's inventiveness matching Thoumire's all the way.
Compositions by legends J Scott Skinner and Nathanial Gow rub shoulders with those of contemporary composers including Thoumire and Milligan, neither of them slouches when it comes to racking dots on staves. Every track is a winner. Roddy Campbell's Favourite has a La Bottine Souriante-like manic air, all driving piano and weird progressions and there's some wonderful concertina goings-on in a set of three reels by the Cape Breton composer Dan R MacDonald. The final track, another Milligan composition, is an elegy of heartbreaking proportions. Featuring piano only, it points up another heartwarming element: there are no egos on this album, just a symbiotic relationship fuelled by a deep understanding of what music does for the spirit.
This guy can REALLY fly on the concertina...
Simon Thoumire (from Edinburgh, Scotland) is a very well-known English-system concertina player, and this CD is chock full of his precise and nimble playing. This guy can REALLY fly on the concertina and yet never gives the impression that he's rushing or doing anything other than exactly what he wants to. Definitely worth owning if you're a concertina fan. The whole CD is pleasant and easy to listen to -- I find myself going back to it over and over again and my whole family enjoys it (not something I can say for all concertina recordings!) Nice selection and variety of tunes, with excellent piano accompaniment.
can strathspey with the best....
Covering a wide spectrum, from centuries-past composers like Nathaniel Gow and Scott Skinner to youthful Scottish contemporary compositions in neo-folk idioms, this album by two of Scotland's great young players will surprise many. As a duo, concertina and piano had its heyday 100 years ago - but here we have an up-to-date take that can strathspey with the best in "Invercauld's Reel" and reel into free-jazz territory in "Keep it Up". Milligan's oblique harmony is always an understated delight - and his own solo piano composition gently rounds the album off.
dazzling music making...
CONCERTINA virtuoso Simon Thoumire and pianist David Milligan share a common interest in jazz, but this disc is firmly rooted in the folk and Celtic side of their dazzling music-making. The Edinburgh duo deliver a sparkling collection of contemporary and more traditional material, taking in reels, jigs, slow airs and sundry other tunes. In addition to their own compositions, including excerpts from Thoumire’s Music for A New Scottish Parliament, they feature tunes by Clare McLaughlin and Rory Campbell of Deaf Shepherd, and throw in selections from the Basque country of Spain and Cape Breton for good measure. Kenny Mathieson
truly beautiful...
Right then, 46 minutes of tunes, both original and traditional, predominantly Scottish with a couple of Basque numbers adding to the mix. Simon Thoumire on concertina supplies the lead melody, accompanied by David Milligan on piano. The chaps met whilst playing with a reformed line-up of Seannnachie, found that their playing styles were complementary and went into the studio. The resulting album was cut in one massive, day long, session, hence its title. Perhaps not surprisingly, it's the concertina that delivers the obvious element of the combination, with the piano arguably shown to best effect on'The Sand Pit', a set of reels written by the Cape Breton composer Dan MacDonald. The tunes offer up a varied mix of styles, the frenetic opening of the initial set of tunes 'The Tipsy Sailor' followed by a far more reflective piece in 'Joseph's Jig'. The mood of the truly beautiful introduction to 'Love comes quietly' dispersed by the unashamedly jolly tunes of 'Hasiera'. Kate, a concertina playing chum, on hearing the 'Highland' set, promptly decided to add it to her own repertoire, always the sign of a good tune. There are a couple of sets contributed by members of Deaf Shepherd; 'Roddy Campbell's Favourite' surely exploring the outer edge of just what is possible on the concertina Sadly, since this album was recorded, Simon Thoumire had his beloved 'best'concertina stolen, fortunately for the recording of this album I'm glad to report the playing is of the highest order throughout. I've heard it said that concertina music is an acquired taste, well this is as good a place as any to start acquiring it. Andrew Duff
it’s refreshing to hear uncluttered arrangements performed with such an exuberant and obviously happy approach.
A musicians album for musicians could quite easily sum up this recording of virtuoso performances. Simon is highly respected as the finest concertina player to emerge from Scotland and indeed his breathtaking skills are amply displayed on the opening track ‘The Tipsy Sailor/The Future Is Bright/J F Dickie’. But for me I must admit to finding the following track ‘Joseph’s Jig/Bessie Brown’ where delicacy outweighs the flashiness of the previous track more in keeping with my more common ear. Possibly it’s David Milligan’s piano accompaniment (so reminiscent of those old school Scottish dance recordings) that appeals? Whatever, it’s refreshing to hear uncluttered arrangements performed with such an exuberant and obviously happy approach. It sounds like both Simon & David were having a ball and who can blame them - lovely stuff! Pete Fyfe
hugely talented...
Some musicians have the uncanny knack of taking an instrument and making it completely their own. One such is Scotsman Simon Thoumire, whose adventures with a concertina have his signature stamped all over them. The Big Day In is his first outing with the hugely talented pianist David Milligan, who has previously made his mark with harpist Corinna Hewat. Both musicians have a thorough mastery of their chosen instruments and a thorough understanding of their repertoire. But they’re never afraid of straying from the path of orthodoxy or throwing down the occasional challenge to the listener. The album kicks off with a couple of familiar sesion tunes making a sandwich of Simon’s own The Future is Bright, from his Music for a Newe Scottish Parliament suite. These are taken at a sprightly pace demonstrating remarkable digital dexterity but, thereafter, the focus tends to the gentler and more melodic, though not without a few more fireworks. Three gorgeous tunes from the pen of fiddler Clare McLaughlin are featured as are others from the Scottish, Irish, Cape Breton and Basque trikitixa traditions. Keith Hudson
joyous...
The title refers to the way this recording happened – one “big” day-long session, no messing. Take two musicians who have just discovered their playing styles are mutually compatible, let them loose on a series of tunes both traditional and composed, and you have just over three-quarters-of-an-hour’s worth of great listening. Never mind that the instrumental palette is small, just marvel at the amazing interplay and superlative musicianship. There’s a surprising variety of moods and styles on display too; take the first two tracks, where the breathtaking frenzy of the opening ‘Tipsy Sailor’ contrasts so well with the gentler reflectiveness of ‘Joseph’s Jig’ that follows (one of David’s own compositions, it turns out), then tracks 4 to 6, where the fulsome ‘Love Comes Quietly’ is supplanted by a joyous Highland set which builds up to a pair of rumbustious Basque wedding tunes (‘Hasiera’). And then what about the madcap dash through ‘Roddy Campbell’s Favourite’ before the sheer delicacy of the closing piano solo (‘Corinna’s Touch’)? Perfect planning that. It goes without saying that Simon’s concertina work is exemplary, and though he obviously knows exactly where the music is going at all times there’s a real spirit of discovery in this collaboration. David’s piano playing is truly exceptional, and so much more than mere accompaniment – one minute stabbing and percussive, the next providing lilting arabesques around Simon’s melody line. Quite superb – I can’t fault this release. Little elaboration needed then, so go buy!
A real Gem...
What do you think is happening, when the best and craziest Scottish concertina player joins the best folk and jazz pianist of Scotland to record an album? - Yes, a brilliant CD is the result. On 'the big day in' there are only two musicians with their two instruments - the english concertina and the piano. There are no tricks, no guest musicians - nothing except the huge amount of ability to arrange, compose and present music. The biggest fascination of this album - apart from the unusual instrumentation - is the exciting ballance of fast and furious tunes and breathtaking beautiful slow pieces. The leading melody instrument is sometimes the concertina and sometimes the piano. Two favourites are the beautiful slow piano pieces Joseph's Jig and Corrina's Touch, both written by David, and Simon's "Love comes quitely" - Ok I have to admit, that a have a faible for slow music at the moment... But the fast tunes are also great. Apart from their own stuff, they are playing some traditional material (including one from the Basque country), some tunes by younger Scottish composers (Rory Campbell or Clare McLaughlin) and some more. A real gem! Christian Moll
the music is Like sunlight on water on a breezy day, at once shimmering and refreshing.
a sparkling and entertaining hour
Simon Thoumire and David Milligan at Edinburgh Festival Fringe - Live concert review for The Scotsman by Jim Gilchrist
A DUO of jazz piano and concertina may sound about as likely as Oscar Peterson meets Captain Pugwash, but this long-standing pairing of Milligan - an established figure in the Scottish jazz scene who also makes forays into the folk world in the fusion outfit Bachué - and Thoumire, a concertina wizard, composer and folk activist with notably eclectic tendencies, makes for a sparkling and entertaining hour.
In the amiable intimacy of this all-acoustic set you could hear the frantic click of Thoumire's concertina keys and the slapping of feet as piano and squeezebox danced nimbly together though sets of reels such as their splendidly-titled opener Happy Mother's Day, Clare (Written in a Hurry), full of quirky key changes and demonic syncopation. At other times there were nimble cascades of piano notes alongside the reedy wheeze of the concertina, stately chords rang out under a sweet, slow strathspey, while the eccentric bagpipe hornpipe, Ballachulish Walkabout, received a vivacious treatment.
There were contemporary, if folk-based, compositions as well, such as Misha Alperin's Wedding in the Wild Forest Part II, a manic Russian whirl which somehow connected with the traditional Scots Sir John Colquhoun's Reel via a loose-limbed swagger of stride piano.
There were moments of lyrical warmth, dramatic flourishes, and occasional manic sequences which could have provided the soundtrack for a Celtic silent movie - The Keystane Cops, perhaps. Jim Gilchrist , The Scotsman ..19th August 2006. http://www.scotsman.com
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