Tracked (Quartz QTZ2O29)
The Gazette of the Greater Boston Flute Association
FLUIT Magazine of the Netherlands Flute Association
CLARINET & SAXOPHONE Magazine of the Clarinet And Saxophone Society
MUSICIAN The Journal of the Musician’s Union
This is one of those top-flight instrumental albums that might have been made at any time in the past 20 years or so, in that it crosses the generic boundaries and presents music from a range of sources within what we'd term western culture (as opposed to world music): the worlds of classical (in its widest sense), jazz, standards, even film music. Andy's an ideal person to undertake such a project: a genuinely multi-skilled musician, he plays virtually every wind instrument you could think of - all members of the large family of saxes, flutes and clarinets, along with piccolo, recorder, ocarina, pan-pipes and even a couple of Asiatic flutes. And the CD's title refers to the fact that he's multitracked himself on every one of the 13 pieces, only resorting to engaging other musicians for instruments which he doesn't play (ie harpsichord, bass guitar, piano, trumpet, flugel horn and tabla)! Lest that sound like merely clever-clever, sterile music-making with the artificial whiff of the studio, let me assure you that is not the impression you gain from Andy's thoroughly musical approach: not only are the arrangements ingenious (as opposed to clever for the sake of it), but the playing is fresh and spontaneous and the end result is both listenable and inspiring. Andy's been involved in music for well over 30 years, and his experience shows in the thoughtfulness of his arrangements; and those with long and fond memories of the folk-rock scene will recall that Andy was a key member of the mighty Home Service band in the mid-80s, playing alongside John Tams, Bill Caddick and Howard Evans on their landmark Alright Jack album and at the Mysteries production. Since that time, Andy's become involved in almost every aspect of musical recording and performing, and he's been in great demand as session musician, and the Tracked project is, I think, the first in a series of new recording projects designed to showcase his versatility. Having said that, I don't get the feeling that it's a "showoff" vanity product in any way, since the music-making sounds so natural in spite of its conscious high degree of "arrangement". On a range of pieces by composers as diverse as Rachmaninov, Gabrieli, Samuel Barber, Debussy, Malcolm Arnold and Michael Nyman, it's inevitable that some fare better than others in their sax-rich new clothing, but I was pleasantly surprised more often than not – the transposition of the Vivaldi G-minor bassoon concerto for the baritone sax is wholly delightful for instance, as is Gershwin's atmospheric second prelude and Barber's sublime Adagio (originally for string orchestra, now festooned with a forest of flutes). The latter family-switch works less well for Bernard Herrmann's Psycho theme perhaps, but it's an interesting experiment nevertheless; Rahman's Bombay Dreams crops up unexpectedly, and Andy has gentle fun with the playful Narcissus, while there are also isolated (but believable) excursions into creole jazz and Irish traditional folk. On the disc's grand little finale, you could say that Monti's Czardas becomes a veritable flying circus of fingering! for Andy's nimble virtuosity has to be heard to be believed - and you can't accuse him of using multitracking merely as a way of getting more notes in!... One final observation: the immense variations in instrumental timbre over the course of the disc will astonish those not familiar with the range of the humble wind family of instruments, so even if you've an inbuilt aversion towards the occasional sax or flute, that shouldn't put you off investigating this most accessible and companionable disc.
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One track on each disc features Andy playing the flute either alone or with piano. The rest of the time he multi-tracks himself, with a little help from members of his family and a few friends. And when I say multi-tracks, he doesn't stop at two or three: one of the numbers on the later disc is a version of a Tallis Motet, all forty parts of which you can hear him play on flutes from C concert to contrabass. Together with the saxes, clarinets and assorted ethnic pipes, there is enormous variety of colour and style.
You can take for granted a high level of professionalism in the playing on both discs. Although all the arrangements are interesting, there seem to me to be some notable successes and the occasional disappointment. On Tracked I was particularly struck by Gabrieli's Sonata Pian'e Forte on recorders and pan pipes, a Malcolm Arnold Scottish Dance with its chewy baritone sax, a Gershwin Prelude where the sinuous accompaniment is dominated by three contrabass flutes, the Rachmaninov Vocalise with some sensuous playing on a wooden Yamaha flute (also heard to advantage in Angela Morley's delightful Valse Bleue ), and Marc Findon's Serpent Dance with its sure sense of instrumental colour. But I was in two minds about Debussy's Clair De Lune arranged for five baritone and two alto saxes, which, though intriguing, failed to conjure up much of the moonlight suggested by its title. A slightly tremulous performance of the Barber Adagio for flute choir conveyed only some of the restrained, noble passion of the original. The clear, rather forward sound is a touch less effective than on the later disc in disguising its studio roots.
The second disc begins with several samples of Andy's film, television and commercial work in some deft arrangements. Here the sound profits from an extra warmth and clarity. The title track, When The Boat Comes in, an expanded version of a TV jingle, has real atmosphere, while Chris Gunning's Poirot Theme catches the period feeling perfectly.
I was amazed how well the first movement of Debussy's String Quartet worked on four pitches of flutes: although it lacked the expressive range of the string original, it was surprisingly convincing in this format. There is another interesting piece by his son Marc for the startling combination of multi- tracked horns and Wagner tubas with piccolos and saxes. I wasn't wholly convinced by the realization (it's much more than a straight arrangement) of Mahler's Adagietto from the Fifth Symphony, but a cool, straight rendering of Syrinx in its original form (not a wooden flute this time?) provided exactly the aural respite needed at this stage of the disc. In fact, the whole production is slicker and more adventurous, a definite advance over the already good earlier disc.
Andy has, however, failed to convert me to the sound of the ocarina, which features prominently in the Nyman-Mozart track which opens Tracked. Don't be put off though. It’s impossible not to be impressed, stimulated and entertained by the range of these discs.
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By Filipo Staiano
Even if the most distinctive element of his playing is perhaps manifested by the emotional, if not communicative urgency in this album, Findon combines his playing with multi-track technology (including several new families of instruments) and presents a selection of various musical genres.
Andy Findon is an expert in “ethnic instruments”, such as modern multi-woodwind, and is a versatile player with a volcanic artistic activity going back to 1976. His involvement in numerous experimental recordings and playing techniques that encompass dance-band, folk-rock, ballet, contemporary theatre, chamber music with an unimaginable variety of instruments.
A very high degree of virtuosity is required of the player who is expected to co-ordinate between the rhythmic subdivisions and the independent beats and the continuous changes of tempi that determine the variegated effects make this an unusually attractive and enjoyable CD.
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The GAZETTE of the Greater Boston Flute Association
Review by Elizabeth Watson - current President of the Greater Boston Flute Society
The Quartz website describes Andy Findon’s new recording, Tracked (2005), as “a dazzling collection of arrangements and original compositions showcasing the kaleidoscopic talent of Andy Findon”.
After listening to this CD, I have to agree. You think you have some chops on the flute? English woodwind virtuoso Andy Findon plays the entire flute family from a Rudall Carte piccolo through Kotato and Fukishima contrabass flutes, saxes, clarinets, recorders, chinese flutes, irish whistles, pan pipes, bamboo/indian flutes and ocarinas.
All right, it is one thing to be a fluent multi-instrumentalist, but in addition to that, he has written some beautiful arrangements, spanning many eras and styles of music. When you visit his website, and I recommend that you do, you will see that he has played for dozens of shows and studio recordings, as well as probably more than a hundred film scores (I did not count them), including Harry Potter and the Prisoner of Azkaban, and Lord of the Rings, Return of the King.
I particularly liked the Vivaldi Bassoon Concerto in G minor, arranged for solo baritone sax. The string parts are covered by Andy on 2 flutes, alto, bass and contrabass flutes (multi-tracking, remember), with Marcus Tilt on harpsichord. A little jarring at first, then fun, than addictive! The Adagio for Strings by Samuel Barber and the Rachmaninoff Vocalise, arranged for flute choir are gorgeous.
He presents music by Mozart, Gabrielli and Malcolm Arnold, traditional Irish tunes, Creole jazz, pop, film music and more. Taken as a whole, the CD can overwhelm but there is something here for everyone. Here is wit and humor in abundance, but always with love and respect for the music. Mr Findon’s tone on many of these instruments, piccolo and saxes particularly, is quite different from what American listeners may be accustomed to.
This is an ambitious recording, clearly a labor for the love of music, the flute and all its cousins, big and little. I liked this CD very much, and as I listen, I keep finding new things to like about it.
[Editor’s note : when we play this CD, all of our cats run in and do the Hully-Gully, then roll around on the floor laughing, their ears rotating 360degrees, then they hop up, form “teams” and break into a Baroque sort of a “trot”, round and round, then it’s back to the Hully-Gully…..then they all run into the basement…..if someone knows what this means please email copywriter@rcn.com right away!]
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FLUIT Magazine of the Netherlands Flute Association
Review by Wieke Karsten
At conservatoires an intensive debate has been going on for a while about the “perspective for the future” of students. A flautist being educated now can not realistically expect to get an orchestral job: how – apart from teaching – will he be able to build a performing career? Students must be prepared for a “broad professional practise”. One possibility is to be a studio musician. Andy Findon is one such musician. Not only is it one of his main activities (look at his website under filmscores...), he also plays about 30 (!) different instruments with matching musical styles on this CD.
It is easy to guess that these are not only flutes.
The computer nowadays provides endless possibilities for multi-track recordings. Findon delights in this and plays whole orchestras on his own. Only bass guitar, piano, harpsichord, tabla, solo-clarinet and trumpet/fluegelhorn are played by others, often family members. Findon plays all kind of arrangements - ranging from Vivaldi’s bassoon concerto (on baritone sax with flute choir), Barbers Adagio, a quartet by Gabrielli (on recorder and panpipes), dixieland (with clarinets and saxes) to Indian flute music. Seldom did I hear such a varied CD!
This CD radiates that it is a "dream project" come true. The choice of instruments, the arrangements, the variety in repertoire, it makes a personal portrait of Andy Findon and listening to the CD is to experience a pleasant introduction to a humorous and inspired musician.
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CLARINET & SAXOPHONE Magazine of the Clarinet And Saxophone Society
Review by Frank Griffith
Multi-reedist, flautist Andy Findon has cleverly concocted a veritable menu of different woodwind combinations disseminated over a wide array of material. Tracked gets its title from the multi-tracking of Andy’s various instruments on all cuts. Fortunately though, he invites others to join in the fun, including his two sons, wife and father. A “Findon fiefdom”, if you like.
A quick glance at Andy’s website will reveal his breadth of success and experience in orchestral and theatre work as well as film soundtracks. The credits are so extensive that this reader needed to take a break from reading midway for a brief lie-down. The repertoire for this CD reflects this experience with arrangements (many by the artist) of classical excerpts from the likes of Gabrieli, Vivaldi, Rachmaninov and Barber as well as film composers John Williams and Bernard Hermann. Particular highlights include a romantic flute and piano duet of Angela Morley’s Valse Bleue featuring the talents of keyboardist Andy Vinter. The lyrical flugelhorn of Julia Findon lends a welcome tonal variance to Andy’s gaggle of six flutes in an inventive arrangement of Gershwin’s Prelude No.2. Saxophonist Colin Skinner’s nifty clarinet arrangement of Luter’s Creole Jazz is a piece that Andy learned and played with his father, Ron, as a teenager over 30 years ago. Ron’s fine clarinet solo adds a welcome dose of improvisation, in this case, to the CD.
While the skill and versatility of Mr Findon is without doubt remarkable here, there are a few inclusions that are likely to raise the odd eyebrow. Debussy’s old chestnut Clair de Lune is given a five baritone sax setting, which, while a novel idea, sounds more like a send up than an apt tribute to the great composer’s piece. There are 19 cuts on Tracked, all of which clock in at around three minutes. Perhaps Mr Findon’s next effort for the fine Quartz label will feature less material, allowing him to consolidate his many strengths into a more focused effort.
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MUSICIAN The Journal of the Musician’s Union
Review by Keith Ames
Since turning professional in the mid-1970’s Andy has been involved in almost all areas of recording and performing. His versatility on an impressive number of instruments, including flute, piccolo, clarinet and saxophone, has resulted in his being one of London’s most in-demand session players. His new album on the Quartz label demonstrates his unique talents in a master class of multi-tracked wizardry.
With material by Michael Nyman, Rachmaninoff, Malcolm Arnold and Debussy, co-producer Simon Haram has captured the essence of a true virtuoso, while highlighting Andy’s sheer breadth and range. Of particular note is the emotional sweep and beautiful arrangement of John Williams’ Schindler’s List, with its mix of flutes, bass clarinet and soprano sax.
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Newsletter of the New Zealand Flute Society
Review – By Ingrid Culliford
The recently released CD, “Tracked” featuring London – based Andy Findon on a variety of wind instruments is a most novel and enjoyable addition to any collection of recordings. The conception of performing well-known and new works through the technique of multi-tracking is imaginative and shows off Findon’s versatility and accomplishment on a very wide range of instruments. Findon also demonstrates his skill as an arranger, with thirteen of the nineteen tracks being arranged by him. The potential for an hour of wind ensemble pieces to become monochrome is averted here by well judged introduction of varied instrumental colour, not just within the wind instruments, but by the added colour of piano in the charming Valse Bleue by Angela Morley, tabla alongside Indian flute and traditional flutes in A.R. Rahman’s I Could Live Here (Bombay Dreams), and flugel horn and trumpet taking the solo line in Gershwin’s Prelude No 2, beautifully played by Julia Findon.
The repertoire on this disc is well paced in tempi and styles. Andy Findon spins the long melody lines of Vocalise and the Barber Adagio effortlessly, with simplicity and breadth, and the tone he produces on his wooden flute is beautiful. By contrast, the livelier numbers show off his virtuosity and the precision demanded by multi-tracking to achieve tight ensemble. Balance is occasionally an issue, but overall the sound is very well-blended and satisfying. I recommend this album as an addition to your collection. More details and ordering facilities are available through www.quartzmusic.com. Enjoy!!
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Review by Jim Langabeer
Andy Findon plays more than twenty different flutes, clarinets, saxophones, pipes, whistles and cymbals in various combinations with flute solos and flute ensembles to the fore. Although a few friends and family musicians add quality contributions, the CD is really a celebration of multi-tracking studio mastery. I find the baritone sax features, including a Vivaldi bassoon concerto played by sax with a flute ensemble, have a humorous, baroque character with their robust, firmly articulated style. This is one of the many moods on the disc.
The flute ensembles with good intonation, balanced and expressive tone, fast and accurate articulation, and matched sectional vibrato are highlighted in a broad spectrum of music by composers including Mozart, Gabrieli, Rachmaninov, Debussy, Malcolm Arnold, Gershwin, Michael Nyman and John Williams. There is a lot of music here to entertain and encourage flute players and general listeners. A must for flute teachers’ library collections.
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SAXOPHONE JOURNAL USA
Review by Paul Wagner
Andy Findon's CD, titled Tracked, is a unique and delightful CD. Through the magic of multi-tracking he offers an incredible array of instruments all performed by him and assisted by a few non-woodwind players. The repertoire is arranged, or adapted, by the artist for this eclectic collection of wind instruments.
Andy Findon was born in London in 1956. After two years of being the Principal Flute in the National Youth Orchestra he studied flute, saxophone, and clarinet at the Royal College of Music with Eddie Walker and Steve Trier. While in college, as a flute principal he began working in the commercial world of dance bands with band leaders such as Nat Temple, Eric Delaney, and the legendary Joe Loss. Upon leaving college in 1976 he, along with John Harle, was a founding member of the Myhra Saxophone Quartet. He then got involved in playing in theaters.
With his interest in ethnic instruments Andy Findon devoted more time to modern film and television scores. In recent years he has done work in the new Andrew Lloyd Webber Productions, as well as a lot of studio calls for his doubles, and especially the contra-bass flute. He is actively involved with the musician's union, and has taken part in many rounds of negotiations with various employers.
The instruments on which he performs are piccolo, flute, alto flute, bass flute, contra bass flute, clarinet, bass clarinet, soprano through baritone saxophones, soprano recorder, tenor recorder, chinese flutes, bamboo Indian flutes, Irish whistles, folk flutes, ocarinas, and pan pipes. Andy Findon, in order to incorporate this impressive list of instruments, is the arranger for all but two of the selections on this CD.
The opening selection is Mozart's In Re Don Giovanni. The piece is arranged by Andy Findon for Chinese flutes, pan-pipes and ocarinas. This is an amazing arrangement that literally sounds like a breath of air. The second selection is a beautiful rendition of Rachmaninoff's Vocalise. Andy Findon delivers the main theme on flute in a very moving performance. The accompanying ensemble is a stunning setting for this jewel of a piece. The backup group consists of solo flute, two flutes, alto flute, bass flute, and contrabass flute.
Next is Malcom Arnold's Scottish Dance scored for penny whistle, piccolo, flute, bass flute, baritone saxophones, alto saxophones, clarinet, and bass clarinet. The arrangement is by Findon. Both the alto and baritone saxophone tones are full, rich, and vibrant. His fingers are precise and smooth with effortless technique. His saxophone artistry takes over again with the Vivaldi G Minor Bassoon Concerto which has been rescored for baritone sax, two flutes, alto flute, bass flute, and contrabass flute. To this delightful mix he adds a harpsichord, played by Marcus Tilt.
On Valse Bleue, by Angela Morley, Andy Findon is joined by pianist Andy Vinter and together they create a lovely dreamlike world that swirls around the listener. From here we jump right into a superb arrangement of Samuel Barber's Adagio For Strings. The instrumentation is two flutes, piccolo, three alto flutes, bass flute, and contrabass flute. What a gorgeous sound he creates for this beautiful composition. On Creole Jazz Andy is joined by his father playing clarinet, who also takes an excellent solo. On Gershwin's Prelude No.2 he is joined by his wife Julia playing flugelhorn and trumpet. Debussy's Clair De Lune is a beautiful arrangement for: five baritone saxophones and two alto saxophones. Wait until you hear this, , five Baritones! The arrangement works beautifully and is an excellent addition to the saxophone repertoire.
Andy Findon is an excellent 'saxophone artist who happens to play a "whole bunch" of woodwind instruments at the virtuoso level. Even more memorable is that Andy Findon has recorded over an hours worth of excellent woodwind music on this CD. You have never heard woodwind ensembles like this. This is a thoroughly enjoyable CD and it should be in everyone's collection.
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International Record Review
Review by Roger Thomas
There's woodwind music in a somewhat lighter vein on Andy Findon's 'Tracked' which sees him playing overdubbed arrangements of music by Michael Nyman (with whom he has a long association), John Williams and over a dozen other composers. from Rachmaninov to Bernard Herrman. An accomplished multi-instrumentalist, Findon plays 19 assorted reed instruments on what would probably be thought of as an album of cheerful encores were any of these things actually played in the real world. Findon's background ranges from high art to the most commercial of musics and he brings the mixture to this disc with considerable aplomb, although it may find a more sympathetic market via woodwind shops than CD outlets.
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www.folking.com Review by Pete Fyfe
As the title of this recording suggests this is a double, triple and even more ‘tracked’ instrumental album by the gifted wind player Andy Findon. Now, if like me you were wondering where you’ve heard that name before you’ll probably best remember him as part of the glorious Home Service during the days of “Alright Jack”. The range of Andy’s prowess on all things wind related allows him the luxury of including flutes, tin whistles, pan-pipes, piccolos and even the much maligned ocarina. I must admit that when I first glanced through the sleevenotes then we’d possibly be in for a bit of overkill with the tracking thing but, far from it for here is a musician who knows when to rein things in. As you will glean from listening to the tracks (everything from Nyman and Rachmaninov to Gershwin and Debussy) the crossing of musical cultures can indeed be truly wonderful. Put aside thoughts of Michael McGoldrick (although I’m sure Andy would certainly give Mr McGoldrick a run for his money) with the inclusion of the one traditional set ‘The Merry Blacksmith/Sleepy Maggie’ this recording should be required listening if you’re trying to extend your musical horizons. By the way for those of you that have been spell-bound by the version of ‘Dance to your Daddy’ featured on the Young’s Seafood adverts Andy played the whistle and will be featuring the track on a new, soon to be released album.
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