I'll get some pictures up at some point, but believe me when I say this is a SMALL venue. Sort of a MOTH club type building (but not a big MOTH club) on the outskirts of a little Hampshire village.
I really must say a word about the Forest Folk Club. Lovely, friendly people who were very helpful and welcoming to us. I met the secretary and chairman and they work very hard simply to bring good music to their club - no profit motive for them (though the musos get paid).
Anyhoo.... for me this is the perfect gig. Small venue - top player - close distance. Can't beat it ?
And what a player! He showed great form on finger style guitar, slide guitar and banjo. He was backed by Andy Seward on double bass and Andy Cutting on melodeon and accordion (I didn't get a chance to ask how a melodeon differs from an accordion).
Right from the word go that trademark liquid sound to his playing was in evidence. It sounds like it's literally pouring out of that guitar. He's very precise and has a well educated left hand which makes very good use of legato - I think the key to that smooth, flowing sound that he gets. I spent some time early on watching how hard his right hand WASN'T working as he laid down some marvellous legato licks. Even when he's playing slide he's chucking in a lot of fretted stuff with the left hand as fills inbetween the main licks, which complements the slide so well.
I enjoyed the way that the three players complemented each other and left space for each other. The registers of the accordion and guitar overlapped quite a bit, but they never stood on each other's toes.
There were two opening acts. First a local duo, then singer/guitarist Robert Brown who did a skillful and diverse set including one number on dulcimer. He had some box that he used to set up drones (he did this with the dulcimer and on a couple of dobro numbers). He told me afterwards it was an "electric tambura", that they're made in India and you can buy them off e-bay.
The main act. They did two sets - the second featuring rather more slide and some fabulous soloing. In particular I recall a cajun arrangement of "The Lakes of Pontchatrain" which is usually slow and a bit on the maudlin side of things, but it's a different beast in Simpson's hands. He and Cutting had a lot of fun on this one, and Simpson took 4 solos. One was particularly toe curling with a syncopated start that actually begun as he sang the last syllable of the verse.
A very fine player indeed. Certainly one of the best that I've seen. I loved the way he was so precise and silky-smooth (even when really tearing up) yet never sounded like he was going through the motions or had rehearsed everything to boring perfection.
After the show I had a bit of a chat with him and asked if I could take some shots of his guitars. He said that's fine then spent a little time talking about them and showing me their unique construction - well.... from the outside of course. They're sort of a cross between an archtop and a flattop, with an arched back as well. He said that Sobell makes regular flat tops and then the construction and bracing puts the curve on them.
He had two guitars with him. The older of the two was european spruce with brazilian rosewood, the newer was adirondack and african blackwood. Both strung with mediums, but the newer guitar was set up a little higher and had the plain strings from a set of 15s to give better slide tone. He said that neither guitar was set up particularly low. He must have some strength in that left hand.
Lovely guy. Superb player and entertainer. Lovely, friendly club. All adds up to a very good night.
I really must say a word about the Forest Folk Club. Lovely, friendly people who were very helpful and welcoming to us. I met the secretary and chairman and they work very hard simply to bring good music to their club - no profit motive for them (though the musos get paid).
Anyhoo.... for me this is the perfect gig. Small venue - top player - close distance. Can't beat it ?
And what a player! He showed great form on finger style guitar, slide guitar and banjo. He was backed by Andy Seward on double bass and Andy Cutting on melodeon and accordion (I didn't get a chance to ask how a melodeon differs from an accordion).
Right from the word go that trademark liquid sound to his playing was in evidence. It sounds like it's literally pouring out of that guitar. He's very precise and has a well educated left hand which makes very good use of legato - I think the key to that smooth, flowing sound that he gets. I spent some time early on watching how hard his right hand WASN'T working as he laid down some marvellous legato licks. Even when he's playing slide he's chucking in a lot of fretted stuff with the left hand as fills inbetween the main licks, which complements the slide so well.
I enjoyed the way that the three players complemented each other and left space for each other. The registers of the accordion and guitar overlapped quite a bit, but they never stood on each other's toes.
There were two opening acts. First a local duo, then singer/guitarist Robert Brown who did a skillful and diverse set including one number on dulcimer. He had some box that he used to set up drones (he did this with the dulcimer and on a couple of dobro numbers). He told me afterwards it was an "electric tambura", that they're made in India and you can buy them off e-bay.
The main act. They did two sets - the second featuring rather more slide and some fabulous soloing. In particular I recall a cajun arrangement of "The Lakes of Pontchatrain" which is usually slow and a bit on the maudlin side of things, but it's a different beast in Simpson's hands. He and Cutting had a lot of fun on this one, and Simpson took 4 solos. One was particularly toe curling with a syncopated start that actually begun as he sang the last syllable of the verse.
A very fine player indeed. Certainly one of the best that I've seen. I loved the way he was so precise and silky-smooth (even when really tearing up) yet never sounded like he was going through the motions or had rehearsed everything to boring perfection.
After the show I had a bit of a chat with him and asked if I could take some shots of his guitars. He said that's fine then spent a little time talking about them and showing me their unique construction - well.... from the outside of course. They're sort of a cross between an archtop and a flattop, with an arched back as well. He said that Sobell makes regular flat tops and then the construction and bracing puts the curve on them.
He had two guitars with him. The older of the two was european spruce with brazilian rosewood, the newer was adirondack and african blackwood. Both strung with mediums, but the newer guitar was set up a little higher and had the plain strings from a set of 15s to give better slide tone. He said that neither guitar was set up particularly low. He must have some strength in that left hand.
Lovely guy. Superb player and entertainer. Lovely, friendly club. All adds up to a very good night.
