Heat the Hoose 2 is a second compilation of some of Scotland's hottest young fiddlers, most of whom took part in Edinburgh's Fiddle 2000 showcase. The album features over an hour of traditional Scottish music -- generally fiddle, with minimal accompaniment. As a showcase of talented fiddlers, this album is no doubt successful. It wasn't quite what I'd expected, however. The album's name brings (to my mind, at any rate) images of show-stopping, energetic performances and flying feet ... setting the house on fire, so to speak. Although there are a few tracks fitting this description, most of the album features tamer, more precise music.

Of the many musicians on the album, the liner notes do not provide a whole lot of information. The tunes on each track are listed, as well as a short blurb on the principal musician, noting any bands they play with. The accompanists, in general, are not noted. Although this might give the listener something to go on if they like a particular track, the information won't lead too far.

As for the mix itself, it is delightful. There are many, many talented musicians on this recording, and it is a good sample of their work. Such a project is quite worthwhile, as it gives musicians who may be relatively unknown a chance to strut their stuff.

Some of the better-known musicians contributing to this album are Aidan O'Rourke (Blazin' Fiddles), Liz Doherty, Claire Mann (Tabache), John McCusker (Battlefield Band), Simon Bradley (Llan de Cubel), Jennifer and Hazel Wrigley, and Clare McLaughlin and Marianne Campbell (Deaf Shepherd). O'Rourke and Doherty both provide an energetic set, and both include a composition of O'Rourke's. I did wonder what Doherty was doing on a Scottish compilation, but since she plays one of O'Rourke's excellent compositions so well, all is forgiven.

Mann pairs up with guitarist Aaron Jones for another energetic set, enhanced by Jone's finger-picking melodies on the guitar. McCusker's track is a jig and reel, and contains a good instrumental mix -- flute, fiddle, guitar, pipes, jaw harp. Bradley provides my favorite track, with a foot-tapping, stepdancing kind of tune. Fiddle, guitar and bodhran combine for some well-flowing instrumentals, and the bodhran (one of those instruments that can make or break the overall sound) is well played, with great tone changes. The Wrigley sisters perform a waltzy version of "The Princess' Polka," followed by a couple of reels with some good, clear playing.

Clare McLaughlin plays a good set, including one of her own compositions, and Marianne Campbell provides the final track of the album with a rather different sort of tune. It was would certainly not be my choice of setting for a fiddle tune (kind of a "club" beat, with lots of bass and wacky keyboard sounds), but it does make fiddling accessible to perhaps a wider audience.

As for the less familiar musicians on the album, they put in a fine showing as well. Sarah McFadyen is joined by Kris Drever (with whom she has just produced a CD) on guitar for the medium-paced "Starter for Twelve." The tune is well-played, with good expression and accents. Kenny Fraser, of Salsa Celtica, provides the listener with a crisp, clean air, which is full of tone. Eilidh Shaw of the all-female band The Poozies, plays a medium-paced tune in a highly accented style with a great beat.

Young sisters Maeve and Orna Gilchrist play a well-arranged set featuring fiddle and harp. The first tune of the set is a beautiful air, composed by Maeve. Gillian Boucher, of Inverness, Cape Breton, is a smooth, crisp fiddler who oozes expression. I enjoy the guitar accompaniment of Ewan MacPherson on this track, as well as Boucher's upbeat fiddle style. Anna Wendy Stevenson fiddles away at a set of jigs, featuring excellent changes in volume and tone, as well as well placed ornamentation throughout.

Sarah Hoy, a young musician from Edinburgh, joins her father to play three of her own compositions. Her upbeat style is immensely likeable, and her compositions immediately caught my attention. Finally, Russell Hunter (who plays with Bradley in Scots band Russell's House) played a lovely air with some interesting embellishments and a slightly jazzy feel to it.

Although the album didn't meet my original expectations, I was pleased with each of the individual tracks, and there were definitely some musicians there who I would like to hear more from. This recording features a wide variety of different styles and some top-notch fiddling. I can't help but think though, that live tracks from Fiddle 2000 (rather than the studio-recorded ones on the album) might have added a little bit more heat to the hoose.

[ by Cheryl Turner ]
Rambles: 21 October 2001