The Shieling＜Colored Vinyl＞

The fourth album by pianist Fergus McCreadies trio is titled after a Gaelic word referring to a homemade shelter of stone and earth that protects shepherds during the summer pasturing season. Here, its an extended metaphor for the intimate cottage in Lochmaddy, in North Uist, in the Scottish Outer Hebrides where the band ferried from their Isle of Skye homes to record this set in five days with producer Laura Jurd. Since releasing 2021s Cairn, the trio -- with bassist Dave Bowden and drummer Stephen Henderson -- has delivered a nearly trademark sound that draws equally on contemporary jazz, spectral post-bop, and Scottish folk traditions. The later nature-themed outings -- 2022s Forest Floor and 2024s Stream -- further integrated the process from McCreadies compositions. The Shieling, however, is a departure. Rather than refine their aesthetic, they opted for something of more immediate resonance, emotional impact, and musical warmth. Comparatively this set is raw, intimate, and spontaneous sounding. The music here is wide open and exploratory, openly and intentionally using folk music as the hub of its jazz. Its songlike and expansive. Opener "Wayfinder" commences with a drone that resembles Scottish pipes; it serves as foundation, guide, and centerpiece. Elastic timekeeping from Henderson with Bowens lyrical bassline open the way for McCreadie; he follows the muse, choosing a shapeshifting reel as a lyrical engine. He syncopates and alters his phrasing and chord shapes as the rhythm section opens up more space even as they engage him in harmonious progression, improvising along the way. "Sparrowsong" uses a jazz cadence to explore a lilting folk melody with glorious circular ostinatos from the pianist. When the band joins, it moves over into rootsy harmonic euphoria before naturally spiraling off into exploratory post-bop. "Climb Through Pinewood" recenters on folk with a danceable reel, swaying through an uplifting melody that transcends the frame and weaves together improvisation, shifting time signatures and harmonic cadences as the rhythm section double-times the pianist. While "Fairfield" uses contemporary jazz as a signpost, the folk modes are ever present. A rolling melody gives way to graceful improvisation via McCreadies right-hand runs. The trio respond by gently advancing a complementary rhythmic architecture before withdrawing, lulling players with circular left-hand lyric figures. The simplicity offers space for both the pianist and rhythm section to create an expansive modal melody that naturally expands for improvisation. Two tracks later, "Eagle Hunt" commences on two chords before transforming the music into swinging modal post-bop with clattering drums and a rumbling bassline. "Ptarmigan" (titled for a game bird in the grouse family) spends its first half as a gently unfolding folk song fueled by a sweetly attractive vamp. The interplay between pianist and bassist is canny, tight, and resonant, before Hendersons rolling rhythms initiate a shift toward a frantic reel before the band engage intricate trio improvisation. The Shielings intimate atmosphere allows for more spontaneity and greater chance taking. This band wears its melodic invention on its collective sleeve and adds a euphoric dimension to the Scottish folk and jazz traditions. ~ Thom Jurek