| On the Outside Released November 2000
‘On the Outside’ is Sally Doherty’s fourth release to date. It strikes a perfect balance between her unique worlds of serenely moving songs and darkly mysterious filmic pieces. This album provides the listener with an hour of intensely soothing yet uplifting and deeply absorbing music; Doherty’s most beautiful compositions so far. Fourteen of the sixteen tracks are songs and are lyrically both moving and poetic.
Her voice is warm and intimate at times, soaring and almost operatic at others. It is accompanied by a variety of instrumental ensembles—from string trio to string orchestra, from harp and strings to piano and woodwind to classical guitar, double bass and Latin American percussion. Doherty’s arrangements compliment her singing very sensitively. Textures range from sparse and tentative to exhilarating and orchestral. Musically this release has a classical feel but other worldly influences can be heard in subtle ways. For example the North African influence on her previous release, ‘Empire of Death’, can be traced with ‘One Voice 3’, a thread of continuity from that CD, and also on ‘Balance’, which also shows signs of some influence from Indian music. On this release, the all-female Sumacs band consist of Sally Doherty: vocals, flute; Emma Smith: piano, violin, djembe; Liz Hanks: cello; Lizz Lipscombe: violin; Karen Burland: clarinet, bass clarinet, backing vocals. This line up is augmented with the addition of harp, classical guitar, double bass, oboe, tablas and Latin American percussion. The lush sounds of these instruments with Sally’s voice make for an extremely moving listening experience. “This album, like ‘Sleepy Memory’, is very personal. It’s my favourite CD so far which is fortunate as it really seemed to sap life from me. It began with a song called ‘Balance’, which was musically inspired by both Indian and North African music. This almost became the title of the album but ‘On the Outside’ seemed much more appropriate, not just because it is the title of a track on the album, which is actually about a homeless man who I see walking through the park near my house, but also because I feel that my music doesn’t fit in anywhere really. I see this as a positive thing but I suppose that it doesn't make The Sumacs very easily ‘marketable’… ah well. I listen to quite a lot of Latin American music, primarily the works of Antonio Carlos Jobim, but also the work of Villa Lobos, who has written some beautiful music. I also love some of the French composers; Debussy, Ravel, Faure. The list could go on and on. I wanted the songs to be as immediate as some popular songs, not in the sense of pop music, but more like jazz standards, folk ballads, theatre songs or Jobim’s bossa nova songs. The role of the arrangements was then to enhance the classical nature of the pieces, although some of the songs, eg ‘Some Never Know’, actually began with the whole arrangement intact. I knew that it had to be for three strings before I began writing it. I love string quartets and hopefully this also comes across with the generous use of cello and violins. Elements of different world musics have also been an inspiration. I am very lucky to be working with the Sumac girls (Emma Smith, Karen Burland, Liz Hanks and Lizz Lipscombe), whose beautiful playing is also an inspiration. I think, or at least hope, that the songs speak for themselves so I won’t say anymore.”—Sally Doherty, 2000
Hear this release
Gold (Part 1) (excerpt; 1'34"; 1.4MB) This is What She Said (excerpt; 1'46"; 1.6MB) Wicker Man (excerpt; 2'08"; 1.9MB)
Click here for reviews of this CD
|
