Woodman Folk Club - Reviews
|Trevor Durden||9 March 2007|
As Ann Munro
said “it’s nice to see the club so full – even if it is only our
friends”. Nevertheless, the place was buzzing with anticipation.
so the time had come! There was just sufficient time for a quick visit to
the bar before Clive took to the stage. His very perfunctory sound check,
all twelve bars of it, had many guitarists of sound mind and body start to
dilute their beer with their tears. It’s the first time I had heard a
sound check get a round of applause!
started off with a slow blues followed by a frenetic jig. Two totally
different styles of music and each played with his customary élan. There
then followed a piece of music that evolved from a session with Chris
Martin of “Coldplay”. Once again, totally different from what had gone
of Clive’s great influences was the legendary Chet Atkins and he regaled
us with the story of his visit to
a complete contrast, Clive then delved into the Elizabethan lute music of
John Dowland with “Prelude” and “The Right Honourable Earl of
Essex’s Galliard.” It probably goes without saying that the playing
was impeccably sensitive and was, for my taste, the highlight of the first
half. Moving from the sixteenth century we then had a wonderfully jazz
based version of “The Hungarian Dance” followed by a melancholic slow
air entitled “Black Moon.” This brought the first half to an end and
was greeted with well-earned rapturous applause.
were all waiting with great expectation for the second half, waiting
perhaps a little too long? Nevertheless, armed with a fistful of requests
Clive was greeted back to the stage with fulsome applause.
Chris Perry” started the set. No lament this, it was very country in
feel and was a fitting tribute to a friend that had died at an early age.
Moving on, we had what I can only describe as a boogie, reminiscent of the
classic “Anji.” Clive obviously has a long memory and asked for, and
got, percussion from the “Naughty Corner.” The piece got faster and
faster and the percussion section knew when they were beaten.
swiftly on, the next piece was dedicated to Tommy Emmanuel, with whom
Clive plays on a regular basis. From a few pieces of wood and six strands
of wire Clive managed to replicate the various parts of an orchestra with
a magnificent rendition of “Blue Moon.”
then returned to the sixteenth century for more lute music enticingly
entitled “The Frog Galliard” which gave the Naughty Corned the chance
of retribution with various amphibious sound effects! All to soon we came
to the final piece in the set, a jig entitled “McGlinchies,” played
super-quick with unbelievable precision.
was inevitable that Clive would be called back for an encore. It therefore
came as a surprise and delight that he burst into song having first
established that there was no tape running! His voice was very pleasant
and ideally suited to the country song “
Carroll is much, much more that a superb technician. He is hugely
personable and highly entertaining and can therefore be fully appreciated
and enjoyed on many levels. This was a thoroughly captivating and
enjoyable evening. Clive is, and always will be, a welcome addition to the