Andy Cutting is by now a familiar name on the folk scene, whether as part of Blowzabella, or accompanying the likes of Kate Rusby and Chris Wood. Surprisingly, this eponymous effort marks the first recording to be released under his own moniker, and the fact that the recording for this project started in 2001, with a further session in 2004, before being completed in 2008, suggests that Cutting might have felt some reluctance to place himself directly under the spotlight. Any reluctance on his part is wholly unwarranted, as this outstanding collection demonstrates. Cutting plays with a style that feels like he is gently coaxing the melodies out of his accordion, lending a fluid restraint that sacrifices little in the way of purpose, and results in a performance that is sensually illuminating.
Subtlety seems to be the order of the day here, and a handful of notable guest musicians contribute, yet none of these appearances could be considered superficial; they all seem to follow Cutting's cue by allowing the tune to be paramount and suppressing any sense of ego. Nonetheless, the distinguished musical personalities of Mike McGoldrick, Tim Harries, and Ian Carr are evident and each do their bit to flesh out the sound when called upon.
The Cutting/Carr collaborations are particularly notable for their complex rhythmic marriage, with "Edges / Thin Waltz" positively revelling in the most joyous interplay of accordion and guitar that one might ever hear. The apparent lightness of touch as Cutting skips effortlessly through the exuberant melody sits in contrast to the more meticulous rhythms of Carr's guitar. The partnership takes a more subdued form on the traditional tunes "Cuckoo's Nest / Old Molly Oxford," where a generous helping of space and restraint allow for a rare appreciation of the subtle resonances of both instruments, as well as their more precise charms.
Tim Harries' double bass brings a sense of purpose and drama on "Still Hearing You / The Resplendent Jig," a set of tunes that stretches the album beyond the traditional sounds that typify the album, lending a darker, jazz-tinged ambience. The uncompromising, measured pace of "Atherfield" results in one of the more sober tunes on the album, performed as a resplendent duet with the full-bodied flute of Mike McGoldrick.
Alongside the various collaborations, there are opportunities aplenty to hear what Cutting can do when left to his own devices, and these moments prove no less engaging. "Charlie / Come Back" is a spirited, punchy set of tunes that ably demonstrates the versatility of the the accordion, whilst "The Old Light" finds Cutting harnessing the more subdued and emotive aspects of the instrument. Both these tunes are composed by Cutting himself, along with many others on the album, and demonstrate a canny manipulation of traditional influences, distilled into a more contemporary-sounding concoction. There is another short but sweet Cutting original, "Covered In People," that wryly captures the panic and mayhem of being lost in a crowd, clearly signalling the empathy that Cutting is capable of weaving in to melody.
This album will surely sell like the proverbial hot potato at this summer's folk festivals, and deservedly so. It's certainly an album that should quickly establish itself amongst the finest releases of the year from the English folk scene.
You can visit Andy Cutting's website here!
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