Chris Leslie
Album: Origins
Label: Paws Music
Tracks: 13
Website: http://www.chrisleslie.org.uk

Now if this website were published in the form of a medieval manuscript, this review would start with the letter Q (standing for Quality) writ exceedingly large and in all the colours of the rainbow. But this extraordinarily fine record has seemingly just appeared without any announcement, let alone fanfare. Indeed, I'd not have been aware of it at all were it not for a casual reference made by Chris himself to "my new CD" during the course of a recent Fairport Convention gig at the point where Theodore's Song cropped up on the set-list.

Chris is ever the unassuming virtuoso, the impeccable craftsman with a heart and soul, and it goes without saying that this genuinely, completely solo disc will not contain a single note out of place, nor any miscalculation of taste or phrasing. And naturally, Chris's choice of material is both culturally and musically diverse and seriously all-encompassing, with quite literally something for every listener. It's hard not to feel the severest twinges of envy when considering how intensely competent Chris is in every field of musical endeavour, whether it be ultra-skilled instrumental dexterity (a seemingly endless supply of fiddles, mandolins, guitars, flutes, percussive accoutrements) or subtly expressive singing (gently voiced but unbelievably persuasive). Or indeed in sublimely creative arranging - just lend an ear to his sparkling, sprightly new treatment of the Holmfirth Anthem (here titled Abroad For Pleasure) which demonstrates that this song has plenty of life (and meaning) beyond the hoary (though invariably pleasant and delightful) come-all-ye staple.

And yet, entirely characteristic of every carefully-balanced item on this disc is Chris's felicitous fingerpicking, not to mention fortuitous footnotes - for sprinkled liberally and modestly throughout are cheekily scholarly borrowings from musical history. The disc's two brief but effective instrumental medleys never outstay their welcome, and each contains at least one true surprise in the form of an unexpected new slant on an extremely-well-known tune (Shepherd's Hey, Princess Royal).

Chris's own songs have long been highlights of Fairport group sets, and Origins contains several archetypal examples of his craft, ranging from the delicate portraiture of Lost Bird and the aforementioned Theodore's Song to the brilliantly canny story of The New Fiddle (set to a trad tune and containing a wealth of knowing quotes, or paraphrases, of music from the fiddle repertoire); this song is surely destined to enter the canon of "violin songs" within contemporary tradition. Talking of which, Chris's taste in covers is commendable, for here he turns in the best version of Geronimo's Cadillac I've ever heard (it's so often treated as a raucous throwaway) and an intriguing rendition of Sandy Denny's Sweet Rosemary.

Finally, the album's sequencing is both masterly and typically thoughtful, the cover design clever, and the actual recording as immaculate as the playing but not in any way soulless. Origins is a peerless album: say no more.

David Kidman