Short Reviews [Gryphon - 2024 - "Gryphon Live. A Sonic Tonic"]

Given I take so much music I have a strict priority system in that I file the album away with details of when it was sent to me, and then gradually work through my list month by month. That generally works well, except when I am sent something which I know I want to listen to immediately, if not sooner, and the system goes to pieces. That is the case here with the live album from Gryphon which was recorded on their 50th anniversary tour last year which arrived recently – apparently this is the first live album, although I can see others listed on PA so am not sure if this is their first ‘official’ or their first since they reformed. I came across the band when they were still active in the Seventies, and then years later I was sent all their albums to review and am still a huge fan (their first three albums are some of the very few which I have loaded on my phone to listen to for pleasure when I feel a need a break from listening to review). Although there are bits of their music which are somewhat reminiscent of Fairport Convention, in reality that it is because they both have similar influences, but whereas Fairport come to music from the tradition and Morris, these guys are somewhat more medieval in their approach. They are also the only band I have ever come across who use two different types of crumhorn in their performances. Brian Gulland (bassoon, soprano sax, recorders, bass crumhorn, melodica, keyboards, vocals), Dave Oberle (drums, percussion, vocals) and Graeme Taylor (acoustic & electric guitars, vocals) were there right from the beginning in 1972, and these days they are joined by Andy Findon (flute, piccolo, soprano crumhorn, soprano saxophone, clarinet, sweetheart fife), Rob Levy (bass guitars) and Clare Taylor (violin, keyboards, vocals). It is difficult to pick fault with the setlist, as they go all the way back to the debut album as well as including tracks from their two comeback albums, ‘Reinvention’ and ‘Get Out of my Father’s Car!’. Their musical dexterity and togetherness only come from countless hours of practice and rehearsal, and they are as happy providing trad arr. numbers as they are with their own material, mixing and weaving their musical threads to create music, which is simply beautiful, delicate and quite unique. They take us on sonorous journeys which feel like madrigals as well as a wonderful sense of humour, with “The Brief History of a Bassoon” having some of the lowest pure vocal bass one will ever come across. I already know this is an album to which I will often be returning, as for fans of the band it is simply essential, and for those yet to come across them then this is the perfect introduction. Their musical approach, dexterity and skill is second to none, and while they may never again gain the kudos and wider acclaim they did back in the day, take it from me that this album is an absolute delight and full of joy. I only wish I had been able to see them play, as I am sure they are never going to make it to New Zealand, so I will just keep playing this instead. If you ever wondered what medieval prog sounds like this then give this a whirl, while they themselves describe “Estampie” as 13th Century Slade!