Self-titled album - The Recollective - overflowing with irresistible flair

(January 10, 2018)

There’s always a place for artists that blend original and traditional material, they are both the foundation and the potential of folk music ... respect for heritage combined with a fearless desire to innovate. And that describes the music of The Recollective and their product of largely Irish and Scottish folk traditions. Their self-titled debut album, which The Recollective album coverharvests songs and tunes from the width and breadth of those traditions, added to their own striking invention and composition, creates a distinctive album overflowing with irresistible flair.

Listening to The Recollective immediately recognises musical symbiosis at work between talented musicians, clearly as at home with their music as they are with each other ... playing with this level of synergy and sensitivity doesn’t just happen. They open with a self-penned tune fastened to a pair of ‘traditionals’, ‘The Recollective March/ John Naughton’s/ The Humours of Westport’ and it’s instantly obvious their interaction is tight as it gets, from there, the Scottish song ‘Baron’s Heir’ takes over, before a sparkling set of Irish traditional reels ‘Reilly’s/ The Crosses of Annagh/ Jack Coughlan’s’. The band spreads its combination of creation and influence further with ‘Warren Carr/ The Birds’, blending a tune from a Danish accordionist with an original into ‘Vals Til Mor Og Far/ The Midge’, an interpretation of the many versioned and titled ‘Billy Taylor’ and an iridescent tune set ‘Nearly There/ Paddy Fahey’s/ The Running Jig’.

A betting man would place a sizeable wager on success for this band, although I’m not a gambler, I reckon that success for The Recollective is guaranteed.

The Recollective are Calum Morrison (vocals, guitar) Karen Hickey (fiddle) Michael Coult (flute) and Kieran Leonard (bodhrán, drums).


Review: Tim Carroll

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