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about

For the Sake of Day - Cahalen Morrison

Cahalen Morrison is one of the greatest song-writers I’ve encountered for many years. His three duo-albums with Eli West represent some of the finest examples of close harmony singing, picking and rhythmic derring-do I’ve heard. His concision is worthy of Townes Van Zandt, and though written by a young roustabout from New Mexico, his songs seem timeless traditionals, with Shakespeare’s effortless poise and flashes of Gerard Manly-Hopkins.

This is one of several of Cahalen’s songs I sing, a task which seems more urgent since he and Eli have stopped touring as a duo. At dawn on the drizzly day after Scotland’s abortive Independence referendum, back in what seems like a different age, in the company of crest-fallen Scotsmen, around a table in Cable Street’s erstwhile bohemian hub, Jamboree, this was the song that sprang into my head when my turn came around.

Though my mother’s family are Aberdonian Mackenzies, and having a farm-raised yet reluctantly boarding-school educated (thus sport-averse) father whose principle piece of advice to me on leaving home was “Beware of groups of men”, I was raised by my mother and maternal Grandfather to support Scotland in everything but cricket, but aside from sport, I have always remained a committed internationalist, with a deep suspicion of nationalism of any stripe.

It took Dick Gaughan’s heartfelt introduction to “Both Sides The Tweed” to a largely unsympathetic Broadstairs Folk Week audience and several conversations over a couple of years with fellow anti-nationalist and supremely talented Scots fiddler, Lewis Murray to convince me that the “YES” campaign was perhaps Scotland’s only chance to be ruled by the socialist principles in which many so fervently believe.

In slightly perverse and ineffectual musings on what might have been, I’ve often pondered how these past few years might have transpired if the great release of post-millennial tension had been one characterised by this simple affirmation, rather than a year later with the slightly more ominous “Take Back Control”.

credits

from The Fruitful Fells, released July 6, 2021
Jez - Voice/Guitar/Harmonicas
Nye Parsons - Double-bass
Alastair Caplin - Violin/Voice
Piotr Jordan - Violin
Recorded by Mike West at Ninth Ward Pickin Parlor
Mastered by Nick Watson at Fluid Mastering

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Jez Hellard & The Djukella Orchestra London, UK

Potent songs, silky double-bass, fiery fiddling and smoking harmonicas.

Jez Hellard & The Djukella Orchestra play a rich mongrel mix of folk music, from jigs, reels and rebel ballads to tango, rhumba and reggae.

Virtuoso musicianship, conscious poetry; from dance tunes to rebel ballads, sweet love songs to powerful politics and passionate improvisation. ... more

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