Review by Northings
John Goldie
19 Aug 2009 in Highland, Music
Spa Pavilion, Strathpeffer Pavilion, 14 August 2009
SOMETIMES the Highlands just doesn’t know what it’s missing, culturally speaking – and they should do if they read the Arts journals and publications available…
Strathpeffer Pavilion was the venue this weekend for the latest Highlands gig from supreme acoustic guitarist John Goldie, who has been working on a follow-up to last year’s Open 4 Closure at the Watercolour studio in Ardgour, and although the venue could have squeezed in a few more bodies, the cabaret style was perfect for the style of effortless and relaxed performance from the man himself.
John Goldie
John, who is described by Martin Taylor as “one of the most talented guitarists to appear on the British jazz scene in a long time”, began his performing career almost totally self-taught, but has become one of the world’s most in-demand acoustic players, solo and session, regardless of musical genre – rock, jazz, musical theatre, and Scottish, to name a few.
His technical mastery is equalled by his total artistic and spiritualistic approach to all his work, and he possesses that indefinable ability to hold an audience in the palm of his hand , through a programme of rock classics, original compositions and well known jazz classics.
Goldie illustrated his sets with stories of how the originals came to be written, his travels to exotic and glamorous venues with the world’s bill toppers, and gave the audience the ‘pleasers’ they asked for – ‘Heard It Through the Grapevine’, ‘Smoke on the Water’, ‘Summertime’ and ‘Secret Love’, tempered with his own subtly multilayered and crafted compositions such as ‘Attention to Retail’ and ‘The Linnhe Fires;, inspired by his time spent on the shores of Loch Linnhe while recording at Watercolour.
For any audience member wondering at how it is feasible for one person to play what sounds like at least three or four guitarists playing together, Goldie deftly takes the audience through the destructuring of a whole tune, layer by layer, leaving us baffled yet delighted at the manual dexterity of the player.
The basic melody is underpinned at all times by the melting and honey-toned layers of rhythm – at times driving and at others, supporting and complementing.
John Goldie is a world class player. Strathpeffer is lucky to attract him, but then again, he is lucky to be able to draw inspiration for his sets from the scenery and people he encounters on his travels here too. Maybe one day, he’ll be able to add a further accompishment, in line with what one member of the audience suggested loudly during one tune: ‘why don’t you sing along with yourself?’……
© Fiona MacKenzie, 2009
