You want to know where the lovely tune, ‘Queen Maeve’s Slumber,’ playing now in the Green Man Library is from? It is off the newest recording from Childsplay, the band created by master luthier Bob Childs. Yes, Waiting for the Dawn is a very fine recording.
For over twenty years Childsplay has performed in the United States and Europe, showcasing different styles of music that can be played on the instruments crafted by Childs, which is how the band got its name. Are you surprised that it isn’t classical music being played here, as is my wont? Well, don’t be, as I really like both Celtic and Nordic music too and Waiting for the Dawn at its very best is as good as any classical recording that you might hear! What Robert M. Childs has done is create a band that is always different from year to year as the performers change, yet sounds equally good both live and on their many recordings such as The Great Waltz and Childsplay Live.
Keep in mind that Childsplay is not by any means a typical band, as we can see from their mission statement, which says Childsplay exists to ‘create an instructive bridge between our audiences and the rich tapestry that is our heritage of traditional music and dance. Unencumbered by commercial or corporate agendas, we provide a direct link to human traditions of creative expression, cooperation, and community. Our audiences are inspired and encouraged to become active partners in traditional arts.’
High minded indeed. But what about the music itself? The theme of Waiting for the Dawn is the long standing relationship of the violin to the voice, and the voice here is that of Aoifé O’Donovan of Crooked Still fame, who is spot on as always. The music is primarily of Celtic origin, or at least is influenced by it in some way. I have heard Childsplay play some fine Swedish tunes as well, but I think they are at their best within the Celtic genre.
So what do they sound like? Quoting Barb Truex from her review of their concert at State Street Church in Portland, Maine, seven years ago:
Imagine anywhere from 21 to 28 fiddler/violin players on one stage with a rhythm section, throw in a random banjo or wooden flute … sound like a party?
Well, that’s how Childsplay got its start: in Bob Childs’ house at a succession of Christmas parties. And all the instruments they played were made by Bob Childs. So, now imagine 30 siblings singing together. That’s what it sounds like to have a stage full of one instrument maker’s creations. And what an incredible, warm sound it was. What a great sonic experience! When they all played together it was like one gigantic violin on stage.
Can they possibly be as good recorded? Many a fiddler would say no, as they think only live music is truly worth hearing, but I disagree. Properly produced, fiddle music is lovely when recorded. I said above that Waiting for the Dawn is a very fine recording, which is something I don’t say often, as in my opinion most recorded fiddle music lacks the fire to feel interesting.
Oh, I can give a short list off the top of my head which feature outstanding fiddling – Aly Bain and Ale Moller’s Fully Rigged, Alasdair Fraser’s Dawn Dance, Frifot’s Sluring, and Alicia Björnsdotter Abrams’s Live at Stallet recordings are all worth hearing.
Suffice it to say that setting aside of the completely unnecessary inclusion of Elvis Presley’s ‘Love Me Tender’ and Steve Earle’s ‘Christmas In Washington,’ Waiting for the Dawn is a joy for any lover of great fiddle centered music. And O’Donovan’s singing on the Irish ballad called ‘I Am A Youth Inclined To Ramble’ more than makes up for the previously mentioned songs!
(Childsplay, 2009)
