Alex Monaghan, The Living Tradition
A second album from this young Antrim fiddler, Escaping The Dawn contains almost two dozen of Rowan's compositions - and nothing else. All original, the pieces are arranged for fiddle, guitar (Graeme Armstrong), accordion (Andrew Waite) and bodhrán (David Foley). The opening set of reels kicks serious bottom, reminding me of Treacherous Orchestra tracks, and it's followed by a smooth trio of jigs ending with the catchy Jess The Wise. A lot of Rowan's music is lively, full-on, with a driven bow and plenty of crispy bits in the style of Ulster fiddlers - but he can also tackle the slower forms. The waltz, A Whisper Of Rosin, is aptly named, delicate long notes suggesting chiffon and gossamer. Emma And Kenny's First Dance is more robust, but still a graceful waltz. The title air has an almost sacred feel to it, started with Waite's simulated organ and moving into a gentle melody suitable for a bridal procession.
There are plenty of tasty tunes here. My favourites are Blackthorn And Willow, Vests Are Best, Natasha's Anthem and the final Dancing With Goats (we've all been there). Mr Leslie has a good nose for titles too! As with almost any body of new ‘traditional’ music, I hear echoes of well-known tunes, but there's a freshness to Escaping The Dawn that is undeniably original, and I expect several of Rowan's pieces to join the session repertoire in Ireland or his adopted Scotland. The wildness of Brooklyn, the lyrical charm of Departure Lounge Nap, both extremes are attractively crafted and expertly delivered. I've had the CD on in my car for a couple of months now, and I'm still hearing new things. Mind you, I'm not doing as many miles as I used to! Reels and jigs, airs and waltzes, hornpipes and polkas cascade from the fiddle with fine arrangements by all the musicians involved. This is an exciting collection, and promises great things: highly recommended.
Grainne McCool, Irish Music Magazine
It’s been a whole ten years since Rowan Leslie’s first album and now Escaping the Dawn showcases 10 original tracks all composed by Leslie himself. A set of reels opens the collection, The Siren/ Mama Brown’s/ Code Orange and welcomes us to this new music. Immediately followed with the jigs, Papa’s Jig No. 1/ Papa’s Jig No. 2/ Jess the Wise celebrate Leslie’s father having turned 70 and Jess his little dog. There’s a vibrancy with the bodhrán and guitar as the liveliness of the tunes develop here.
The tempo then slows a little with two waltzes, A Whisper of Rosin/ Emma and Kenny’s First Dance. Another personal tune in the latter for the daughter of his long-term Dentist. Giving us the image as we listen to a couple dancing that all-important ‘first dance’. Although very much traditional at its core, there’s more to this collection of music and Leslie is playing with other genres within. With Natasha’s Anthem one is awaiting the cello to appear as if jazz is about to be visited. There’s just a fine boundary to cross with this one. Such is his ability and depth with this tune as with all the others. The title track Escaping the Dawn awakens like the dawn capturing the natural experience of early day in the music.
The fiddle and accordion here capture the dawn beautifully. The artwork on the cover from Zak Johnson captures the feel of this collection beautifully. Exquisite piece of art capturing the dawn in colour, nature and music as one and just introduces us perfectly to this emotive collection of tunes.
With ten beautiful tracks encompassing all areas of tunes, this is a lovely collection steeped in personal and emotional experience and capturing us all with the music. Escaping the Dawn will give you music to dance to and music to unwind to. It’s a collection of original tunes, which you can enjoy from dawn to dusk. You don’t have to escape the music to enjoy Escaping the Dawn. The beauty that is music is right here and it’s going nowhere.
CeltBritFolk
One thing that keeps astonishing me about the Celtic music scene is the way it produces brilliant young musicians who refresh and vitalize the culture. Some do it by expanding and experimenting and stretching the limits of the music, while others own the old traditions and recharge them as if they invented them.
Young Irish fiddler Rowan Leslie, now a resident of Glasgow, sits firmly in the latter category. All the tunes on Escaping the Dawn, his second solo album, are his own but most of them come from a very trad core.
It’s new leaves on an old and venerable tree as Master Leslie exhibits enviable skill and style throughout. He’s backed up by quite a stunning trio, with Graeme Armstrong of Talisk on guitar, Andrew Waite of Dallahan on accordion and David Foley of Rura on the bodhran.
And actually, those names pretty much say it all: you can probably guess what the music on the album is like, and also that it’s most definitely top notch because guys like that would not appear an any half-baked attempt for an album. No way. So there.
Solid and hugely enjoyable ”modern trad” and warmly recommended.
Bob Fish, Folk Radio
When you play fiddle the way Rowan Leslie does, word gets around. 10 years on from his first album (a collection of traditional fiddle tunes), his second, Escaping the Dawn features Leslie the writer while still playing (mostly) within the tradition. Composed since the release of his first disc, these songs establish him beyond question. While he can play with abandon, he also understands the need for restraint. There’s no point in being showy just for the sake of it.
A freshly rosined bow gives off a small cloud of dust for the first few strokes, “which I have always referred to as ‘a whisper of rosin’.” Hence the title for the two waltzes comprising “A Whisper of Rosin/ Emma and Kenny’s First Dance.” The latter half having been written for his dentist’s daughter’s wedding in his hometown of Ballymena. When the fiddle enters you can visualize the cloud floating as Leslie gently coaxes notes out. There’s a subtle beauty to Emma and Kenny’s First Dance. It’s easy to picture the couple lovingly waltzing around the room.
A set of three reels, “The Siren/ Mama Brown’s /Code Orange” illustrate Leslie’s depth.
“The Siren” is based on Greek mythology, while “Mama Brown’s” was commissioned as a mother’s Christmas gift by an Irish dancer and the third reel, “Code Orange,” was dedicated to a young woman. Based on the speed alone, “Cold Orange” establishes that the young woman has clearly kept Leslie on his toes, or perhaps it was the other way around.
Jigs are the order of the day for “Papa’s Jig No. 1” and “Papa’s Jig No. 2,” commemorating the 70th birthday of his father. The third, “Jess the Wise” was named for his dad’s cocker spaniel. You can almost see the dog waiting by the door for Leslie or his dad to return home. As the pace picks up with “Papa’s Jig No. 2,” your appreciation for the work of David Foley on bodhran, along with Graeme Armstrong’s guitar begins to grow.
“Escaping the Dawn” immortalizes an early morning drive from Edinburgh to Glasgow. Travelling west with the sun rising behind him, Leslie drove on into the darkness, “outrunning the day.” There’s a sense of melancholy to the track that the violin captures perfectly while Andrew White’s accordion adds to the wistful nature of the moment.
Straddling a line between the traditional Irish music and jazz, “Natasha’s Anthem” effectively creates its own template. The fiddle slips in and out of styles, matched by Andrew Waite‘s fine accordion playing with certain phrases most definitely coming from a jazzier world, while others and imbued with a more traditional framework. It’s a wonderful moment written for a student and friend who wanted something upbeat for his fiancée.
A warning to others, “Departure Lounge Nap” immortalizes Leslie’s misspent youth. Attempting to fly home from Newcastle to Belfast while at university, he fell asleep in the departure lounge after drinking all night missing his flight. The slow song has a slightly sad edge to it as if, at last, a lesson has been learned.
With his slightly unorthodox approach to traditional music, Rowan Leslie has created a set of music that attempts the feat of Escaping the Dawn. While that may seem like something of a fool’s mission, this album clearly is not.