Echo

by Catrin Finch, Seckou Keitz

Released 27 May 2022

bendigedig

*****

As with Welsh-Senegalese harp and kora duo Catrin Finch & Seckou Keita‘s previous albums, (2013's Claychau Dibon and  2018's Soar), a strong positive message runs through Echo, the third part of their trilogy.

The Osprey and its reintroduction to Wales and migration to West Africa (symbolising the relationship between the two musicians) was the star of Soar, whereas the underlying theme running through Echo takes this sense of connection and relationship and evolves it into one seamless creative whole. The idea of the echo also brings into focus the importance of love, relationships, death and memory; these are large existential themes that, considering the circumstances of the last two years, have been nearer the surface than normal and in the thoughts of many.

With that in mind, the album starts appropriately with a beaming piece entitled Gobaith, meaning ‘hope’ in Welsh. Unsurprisingly, the music is beautiful in its intricacy and structure. Starting with a bright harp refrain, the kora comes in with splashes of colour over a whisper of Claire Whitson’s rich double bass notes before the gentle introduction of strings. Appearing on four tracks, the addition of strings is a first for the duo, marking a distinctive shift in the shape of their sound; it creates an effective difference in texture on the tracks with strings involved and emphasises the space on the tracks where they are absent. That said, the balance of sound is expert throughout, and the string septet never threatens to overpower the essence of the sound that is the harp and kora. This balance comes across wonderfully on Chaminuka, a song in tribute to late mbira (thumb piano, see the album Mind Maintenance) player Chartwell Dutiro. The restraint on display from the two musicians is a joy to listen to and fully illustrates the simplicity and intuition that can be heard in the finest duo setups. A repetitive minimalist kora line neatly emulates the mbira before more notes arrive to carefully enhance the arrangement. The shift in sound in the second half, when strings swoop and Seckou sings a lament for his friend, could have been jarring, but the production from the two players plus Tom Colvin ensures the transition is smooth.

Elsewhere, Dual Rising ups the drama significantly, with Seckou’s kora playing a twitchier line in the background while Catrin’s harp performs dynamically across the whole range of strings. A performance with virtuoso Colombian joropo harpist Edmar Castañeda, known for his high tempo string playing, was the inspiration behind this song. The influence is evident, with a jazz-inspired piece continually jumping around and Catrin showing her prowess as a technically skilled and diamond-fingered picker. The string section is absent here, which is wise, considering the complexity and high energy of the two main instruments. As Catrin says, ‘I play every note under the sun and people love it!’ There is a suggestion of free improvisation here or at least a feeling of freedom and pure energy in the music that would transfer wonderfully to a live setting. Played at a far easier pace and also without the string accompaniments is Tabadabang, a lyrical song based around family and the innocence of adventure and travelling in children. The kindliness and gentle mischief that forms the context of the music is portrayed neatly in a sound that is at once intricate and playfully pitched, all but totally lacking the sharp edges of Dual Rising. Instead, the music remains softly euphoric for the most part, evoking this innocence of childhood and the subtle introduction of life’s adventures.

My favourite piece on the album is the penultimate track Jeleh Calon, meaning ‘smile’ in Mandinka and ‘heart’ in Welsh, respectively. Much like the earlier song Chaminuka, the mood of this one shifts partway in with the introduction of strings, but the change is skilfully done. Catrin’s plucked lower strings (imitating the heartbeat) introduce the song before Seckou’s kora comes in with a beautiful melody that washes light over the music and effectively provides the smile. For me, Jeleh Calon best demonstrates the musical relationship between the two players and their closeness and evolution into this one whole. The strings are a feather-light enhancement and again allow the two instruments to weave majestically around each other. Another more meandering song in some ways with a hint of improvisation in its structure, the music drifts and progresses like a life, before it is brought to a close by the ever-present ‘heartbeat’ of Catrin’s harp. It is a gorgeous piece of music.

Even before we have been led out by the final song Jula Kuta, it is clear that Echo is another significant leap forward for these two spellbinding musicians, and it’s an appropriate finale to a remarkable trilogy. In a way, Jula Kuta is a musical demonstration of how far both musicians have come, it being a piece Seckou has been sitting on for some time, with the intention of it showcasing the range of a double-necked kora he created in 2007. Centred around the ludicrously rich sound and the huge challenge of playing a chromatic scale from D-flat to A on both harp and kora, the song is actually quite a modest piece, displaying quiet virtuosity. It’s probably the most spacious and deliberately paced track on here, also occupying the most time, at well over eight minutes. Both musicians have fun at points by producing delightfully sharp arpeggios, but for the most part, Catrin and Seckou are careful to allow the music to breathe. It works perfectly with songs like Dual Rising, which more dramatically demonstrates the range and ability of both players. Here, subtlety is as key a skill as speed, and the music achieves a sense of quiet satisfaction as the two instruments fade out. It brings to a close another masterpiece; a beautiful album from two artists operating at the height of their powers

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Source: Folk Radio UK

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