Bio:
Duncan Chisholm is one of Scotland’s most recognised and accomplished fiddle players and composers. Born and brought up near Inverness in the Highlands of Scotland, Duncan has spent most of his life developing his unique musical voice. Fiddle playing at its best, Duncan’s feather-light handling of dynamics and ornamentation, allied with his pure-distilled tone, lend his characteristic spine-tingling magic to his music.
Taught to play by the great Donald Riddell, few can match Duncan’s expressive feel for a Highland air. Duncan’s well-established musical career has taken him throughout the UK, Europe and the USA, both through his solo work and while playing with other musicians and bands. Duncan plays regularly with gaelic singing sensation Julie Fowlis, sets the heather on fire with his folk rock band Wolfstone and is much sought after as a composer and accompanist.
Duncan’s latest release Live at Celtic Connections, was recently awarded ‘Album of the Year’ at the Scots Trad Music Awards in December 2014. Performed at an exclusive concert as part of the world famous Celtic Connections Festival in Glasgow, Duncan recorded this special event where he played music from his acclaimed Strathglass Trilogy of albums, as part of a six piece traditional band who were backed by an orchestral ensemble.
The culmination of six years work, The Strathglass Trilogy – Farrar, Canaich and Affric, is Duncan’s musical representation of the ancient Chisholm Clan lands. With such a personal interest in and connection to these Highland glens, Duncan has worked hard to instil great pride and passion into three individual but very much connected musical masterpieces. This unique and inspired idea of producing a suite of fiddle music recordings, influenced by one of the most beautiful wilderness areas of Scotland, gives a solid representation of Duncan’s ability to get right to the heart of a tune, and communicate the emotion behind it, in what seems a totally natural way.
Duncan’s first solo album, Redpoint catapulted his solo career into the public eye. The Door of Saints closely followed Redpoint; a beautiful album inspired by the music of Northern Spain. Duncan then embarked on his Strathglass Trilogy, mixing traditional tunes with contemporary sounds. Having composed music for several BBC documentaries and written more than half of the tunes presented on his latest release, Duncan has been labelled “the new sound of traditional Scotland.”
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).