01	One For The Fiddler						03:32
	02	Buffalo Jump						05:51
	03	Bonnie Lass Of Anglesey						04:48
	04	Green Grow The Rashes						04:41
	05	Flowers Of Red Hill						04:09
	06	Sinclair						06:13
	07	Plains Of Kildare						04:16
	08	Trip Across The Mountain						04:44
	09	Broken Ring						04:51
	10	The Karfluki Set						08:02

Date of Release Aug 26, 1997

AMG EXPERT REVIEW: The results of the tinkering that Tempest has conducted on previous albums are unveiled with resounding results. The Gravel Walk achieves a solid balance between their foundational classic '70s rock and folk influences. Lead singer, flautist, and mandolin player Lief Sorbye is no longer the dominant center stage occupant. His once commanding presence has blended smoothly with that of his band mates. Most of these fellows have played together for years but are now reaching their height as performers who have settled on their musical blueprint and grown comfortable with it. Particularly well-suited for Tempest's dual-purpose is fiddler Michael Mullen. He is just as adept at incorporating traditional Irish reels ("Flowers of Red Hill") as he is at integrating a searing Robbie Steinhardt-esque electric violin solo. Rob Wullenjohn compares favorably to Jethro Tull guitarist Martin Barre. Many of his mannerisms resemble Barre's, including his well-tempered, crafty but not self-absorbed style. He's forever hovering around each song, preparing to plunge in with an irresistible riff or to playfully insert some humorous fretwork when applicable. As usual, a couple of Norwegian folk songs from Sorbye's vast catalog are included. "Sinclair" is a quaint number sung in Norwegian that, were it not for the English introduction and translation, could easily pass as a harmless courting or seafaring song rather than the conniving and pillaging account of battle that it is. Buried deep in the "Karfluki Set" is yet another version of "Music for a Found Harmonium." An accommodating piece, it lends itself nicely to a variety of arrangements including this funky, free-form, folk-rock assault by Tempest. Bassist Jay Nania and drummer Adolfo Lazo flawlessly provide the rhythm necessary for those versatile jaunts into the wonderful world of "celtodelia." - Dave Sleger

1. One for the Fiddler (Sorbye) - 3:30
2. Buffalo Jump (MacLean) - 5:49
3. Bonnie Lass of Anglesey (Traditional/Wullenjohn) - 4:46
4. Green Grow the Rashes, O (Traditional) - 4:39
5. Flowers of Red Hill (Traditional) - 4:07
6. Sinclair (Traditional) - 6:11
7. Plains of Kildare (Traditional) - 4:14
8. Trip Across the Mountain (Sorbye/Traditional) - 4:42
9. Broken Ring (Reynolds/Sorbye) - 4:49
10. The Karfluki Set: Break of Day/Cryptic... (Jeffes/Mullen/Traditional/Wullenjohn) - 8:02

Lief Sorbye - Flute, Mandolin, Vocals
Robert Berry - Keyboards, Producer, Engineer
Adolfo Lazo - Drums
Michael Mullen - Fiddle, Violin, Vocals
Jay Nania - Bass

1997 CD Magna Carta 9018

======================

Tempest - The Gravel Walk

Released: 1997
Label: Magna Carta
Cat. No.:
Total Time: 49:29


Reviewed by: Stephanie Sollow, August 1998
The interest in Celtic music and Celtic styled music is on the upswing, in case you haven't noticed. Certainly this trend was started by the overwhelming popularity of Riverdance. But the Celtic influence has always been with us and has seeped into many other categories of music. I've not done a deep analysis, but I would imagine Bluegrass has its roots in Celtic music, brought over by Scottish and Irish settlers. It has found its way into Country, too - via Bluegrass, no doubt (is there even a difference? Is it just regional?).

And, of course, it has found its way into Progressive - not just Tempest, whose latest release, The Gravel Walk, is another excellent example of a rock and Celtic meld. Earlier there was Gryphon, for example. And Jethro Tull. And now, if you look in any music store, especially in the New Age section, and almost every other album is Celtic something. Some are cashing in on a trend to be sure, but not all.

There is something endlessly enjoyable about Tempest and their music. As on earlier albums the tracks here are either arrangements of traditional compositions or have traditional reels, marches, and such appended to the end of original compositions. The fiddle seems more prominent here than on 1996's Turn of The Wheel, especially on (not surprisingly) the opening track "One For The Fiddler." Mullen's playing here is so vivid, that you can almost see the bow dancing across the strings.

"Buffalo Jump" gives a Celtic tone to a American Southwestern rhythm (though the region evoked is the mid-west). This song jumps along from note to note, reinforcing the imagery in the chorus by separating the lines of the chorus with a pause (e.g. "Buffalo jump - feel the thunder"). And for those who might think the "Buffalo Jump" is some sort of dance or jig - think more literally - though the tune is danceable.

Although the mood here is much lighter than on Wheel, where more of the music is spritely, open and airy, "Sinclair" which begins with a slow march, details the fate of an army of Scottish mercenaries (led by the titular Sinclair) who were journeying to Norway to help the Swedes wage war against both Norway and Denmark in 1612.

The Scottish poet Robert Burns (1759-1796) has his version of the poem "Green Grow The Rashes" melded with an unnamed traditional tune. Because, in various versions, this has been identified as a bawdy song (not quite so here, though), I'm sure that there is a subtle play on words with the title. Rashes, by the way, are rushes, a grass-like plant - but that is where the play on words comes in.

What impresses me the most is the level of playing here, which is consistently great. With the complexity of some of the arrangements, one needs to be dexterous and skilled. To be otherwise would disastrous. Here again Sorbye's voice is rich and expressive, and rereading the review I gave Wheel, just about everything said there applies here.

The closing track, "The Karfluki Set," is an instrumental workout sure to get you dancing. And even if you don't dance, would air violin work?

Needless to say, Tempest have put together another great album, playing tradition against modernism and bringing in various influences into a seamless whole. This comes highly recommended.

More about The Gravel Walk:

Track Listing: One For The Fiddler (3:30) / Buffalo Jump (5:49) / Bonnie Lass Of Anglesey (4:46) / Green Grow The Rashes (4:39) / Flowers Of Red Hill (4:07) / Sinclair (6:11) / Plains Of Kildare (4:14) / Trip Across The Mountain (4:42) / Broken Ring (4:49) / The Karfuki Set (8:02)

Musicians:
Lief Sorbye - Lead Vocals, Mandolins, Octave-Mandolas, Flute, and Pennywhistles
Michael Mullin - Acoustic Fiddle, Five String Electric Violin, and Harmony Vocals
Rob Wullenjohn - Guitars, Harmony Vocals
Adolfo Lazo - Drums
Jay Nania - Basses
Robert Berry - Keyboards

Contact:
Tour and Concert Info:
2155 Park Blvd, Suite 1
Oakland, CA 94606
Fax: (510) 452-9469

Website: www.tempestmusic.com
Note: will open new browser window

Discography

Springdans (1987) (Lief Sorbye)
Bootleg (1991)
Serrated Edge (1992)
Sunken Treasures (1993)
Surfing to Mecca (1994)
Across The Borders (1994) (Sorbye)
Turn of the Wheel (1996)
To Cry You A Song - A Tribute To Jethro Tull (1996) contrib. one track
The Gravel Walk (1997)
Caliban (1998) (Sorbye & Michael Mullins)
10th Anniversary (1998)
1999 Live at the Philadelphia Folk Festival (1999) (only available through Tempest)
Balance (2001)




Tempest - The Gravel Walk
Artist: Tempest
Title: The Gravel Walk
Label: Magna Carta MA-9018-2
Length(s): 51 minutes
Year(s) of release: 1997
Month of review: 02/1998

Line up
Rob Wullenjohn - guitars, harmony vocals
Michael Mullen - acoustic fiddle and electric violin, harmony vocals
Adolfo Lazo - drums
Jay Nania - bass
Lief Sorby - vocals, mandolins, flute, pennywhistles
and help of Robert Berry

Summary
It seems that this is the sixth album of the band. The previous one, Turn Of The Wheel, I once read a review of, but for me this is the first encounter with the music of Tempest.
The music
Although the band is American, this is evidently a progressive folk band or just as much a folky prog band; I was rather surprised to find this band on the Magna Carta label. The first track is typical of the style and does not yet reveal that the voice of Leif Sorbye corresponds to the voice of Ian Anderson quite closely, but less distinctive (which is a relief I might add, since then the music would constantly remind one of Tull). Musically however, Tempest is more folk than Tull and also a very important difference is the violin of Michael Mullen that fills the gap of Anderson's flute. All in all, this makes for a different kind of music and musically one would do better to compare with those other folky progressives: Red Jasper (during Midsummer Night's Dream). Although the music sounds quite folky, there are more influence to be heard: Buffalo Jump might sound like a jolly jig to some, but the lyrics are about Indians (though written by a Scotsman) and also contains some rocking pieces on guitar and some very nice percussion. The traditional Bonnie Lass Of Anglesey opens with violin and features Robert Berry's organ and certainly has some quality melodies. Melodically there's a lot of repetition in this song (this is definitely part of the nature of the music of Tempest and folk in general: repetition with subtle variation). Green Grow The Rashes is like the ones before a folky tune with some fingerquick playing in ever raising tempo. As on earlier tracks the band shows here that they damn well know how to play. The sound is very clear and the balance is very good. Flowers Of Red Hill is not a striking one, combining three traditionals. Sinclair is again traditional with Norwegian lyrics about the downfall of Sinclair and his Scotsmen with some flute added. The violin is back in the lead with the rocking Plains of Kildare, which again features the organ. The song is a ballad (I do not mean a sweet song, but a song that tells a story and it is recited with a melodious voice) with plenty of variation and tempo changes. Trip Across The Mountain combines a number of Norwegian themes into a very melodious and anthemic with lots of flute and a "classical" intermezzo in the middle. The next one up is one of the few real Tempest compositions. Here, the Red Jasper reference comes back with a vengeance and the song is more rocking than any of the previous ones. Because of the stronger rock influence one of the more appealing tracks (for proggers), but Red Jasper is awfully close by. The last track, The Karfluki Set is an instrumental that features four parts, one of which is a part originally from Penguin Cafe Orchestra written by the new deceased Simon Jeffes. They have taken the melody of this piece and turned it into a folkier tune. After a short period the band starts all over in rockier vein (after some discussion). Moving into the next part we get a more rocky sound with a wah-wah guitar sound and the violin on the fore. This song becomes really orgiastic along the way with lots of organ.
A thank you is for Dave Pegg, where I assume the bass player of the legendary Fairport Convention is meant. Wonder what he did for them. I wonder what he did.

Conclusion
Well recorded and played folky progressive/progressive folk. The music can be quite complex while the band moves through the rocking versions of many a traditional. More folky than Tull or Red Jasper, I think a liking for folk is more necessary than a liking for progressive. Now, I'm more a fan of prog, but I have to admit the mix is interesting, although after the first few tracks one is afraid that all is the same style. The music might sound varied, but there can also be variation in variation. Fortunately the last part of the disc contains some more diverse influences like the rock in Broken Ring and the classical intermezzo in Trip Across The Mountain. Progressive rock that can be danced to, full of energy and played with finesse. Still, I wouldn't mind if they'd leave the folky path once in a while.
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c Jurriaan Hage