One of the finest instrumental trios on the scene today, the ingenious Leveret make a return with their latest release Forms. Taking its title from the name for a hare’s nest (the band’s name of course comes from that for a young hare) the trio’s fifth album marks their tenth anniversary together and what a revel it is too.
Folk Radio UK readers and listeners will be familiar with the sublime musicianship of Andy Cutting on melodeon, Rob Harbron on concertina, and Sam Sweeney on fiddle, and the trio’s jubilant and infectious love of the English folk musical tradition. Forms delivers all of the above in abundance here; we’d expect nothing less from the trio, and the characteristic Leveret sound of effortless joy, fresh spontaneity, and profound fondness of traditional English tunes palpably on show.
Consisting of ten tracks to celebrate ten years, Forms is a delight. Whilst other acts would return to old favourites to celebrate such a milestone idiosyncratically, Leveret take a different slant, gifting us a selection of revitalised traditional tunes alongside newly composed ones.
‘Bass Hornpipe’, for example, which opens the album, comes from the manuscript of the Rev. Thomas Cowper of Westmoreland, and is a rousing, pounding hornpipe which dances with some playful fiddle. It’s a terrific introduction – Leveret have that special knack for translating historic tunes for modern ears, ensuring they feel as contemporary, energetic, and animated as they would have done on first listen back in the 18th century.
The trio follow ‘Bass Hornpipe’ with a new tune, the sweet little ‘Filberts’. Named in honour of the hazels used for Morris sticks, the tune was written by Harbron for the all-female Morris dance troupe Boss Morris. Younger readers (cough) will recognise that name as the dancers were one of the standout performers of the recent Brit Awards – they even welcomed Sweeney to dance alongside them dressed as Hooty the Owl (and based on his moves I’m glad Sweeney is sticking to the fiddle).
‘Filberts’ shifts into a further Morris tune, the 18th century ‘Blacksmith’s Morris’, which itself smoothly runs into John Clare’s vivacious and joyous ‘Queen’s March’. It’s an invigorating set of tunes which perfectly introduces the distinctive Leveret approach. Cutting, Harbron, and Sweeney are known for the freedom of their playing. Choosing to explore traditional tunes overlooked or lying dormant, Leveret took the decision early on in their creation to never formerly arrange their tracks, encouraging a uniqueness of playing which may initially sound easy and informal but which can only succeed through an extensive trust between musicians and friends. Each Leveret performance is different from the last, allowing a freshness and uniqueness to their instrumentation which enables the trio to flex their musical muscles; a very good reason to catch the trio when they are on tour. It’s a testament to the trio’s regular live engineer wiz Neil Ferguson that the familiar, welcoming, and thoroughly intimate sound of Leveret is recorded so masterfully here. Throughout, Ferguson captures that inventive, original, sounds that characterises the deep friendship, trust, and sheer pleasure of collaboration between the trio and their engineer. It’s a beautiful album which easily tackles the challenge of complimenting the three instruments – throughout, melodeon, concertina, and fiddle dance, weave, and swing.
‘Woodstock Blower’ also uses a tune from Clare’s manuscript – the spirited ‘Scarlet and Green’, which is complemented by Harbron’s self-penned tune ‘Alvin’s’, and Sweeney’s adaption of ‘Nelson’s Maggot’ from John Johnson’s 18th century collection, to complete the set.
The dance tune ‘Cotillion’, also sourced from Johnson’s collection, presents a further example of Leveret’s sensitive approach to historic tunes. There is a demonstratable feeling for such tunes here; the trio superbly balancing the old with the new in a beautifully evocative interpretation. Whilst musical heritage is evidently important to the trio, openness, creativity, and pure-play are crucial here too and the rich, bold, instinctive sound of the three instruments is irresistible and thoroughly beguiling.
The trio’s layered handling of the instrumentals also belies a complex and perceptive response to the tunes; it is astonishing what the trio can do with three instruments so rooted in the folk tradition. At times, it is almost impossible to differentiate instrument from instrument, so close the trio are – it’s an electrifying combo which constantly surprises and amuses.
Cutting provides the sunny ‘A Habit of Hill’s’ which follows, via ‘Princess Amelia’s Birthday’, Sweeney’s adaption of ‘A Good Hornpipe’, a moody, and atmospheric tune, whilst ‘Untitled Waltz/The Derby Hunt’ and the exuberant, sparkling, bouncy sound of ‘Oh The Days When I Was Young / Young Collins’ Rant’ make lively use of tunes from Thomas Wrigley, H.S.J. Jackson, the aforementioned John Clare, and Samuel Dickson – providing a whistlestop tour of some superb tunes from the 18th and 19th centuries. The trio know their English dance history and have a superb ear for old forgotten tunes.
The celebration concludes with an entirely apt appearance from Playford; ‘Mr Lane’s Minuet’, a beautifully atmospheric dance, and one which highlights the sensitivity and harmonic relationship between the three instrumentalists. It’s a charming finale to what proves to be a picturesque, refreshing, and inspiring listen.
To mark ten years is a genuine accomplishment and worthy of celebration and Leveret do so with a recording that pays homage to their love of the English folk tradition whilst simultaneously breathing new life and energy into historic tunes. At the recording’s heart too, is the passion of friends making music together, and the album beautifully illustrates the sheer thrill in their musicianship. Individually, each musician is a master, but what happens when the three combine is nothing short of enchantment – there is something exceptional that happens when Cutting, Harbron, and Sweeney get together, something elemental, dynamic, and yet curiously timeless; something magical. Forms is, as we should come to expect from such a gifted trio, a mesmerising and nourishing treat for both the ears and the soul.
Leveret Tour
15 March – NCEM, York
16 March – Christ Church, Bath
17 March – Ruskin Mill, Nailsworth
18 March – Courthouse, Otley
19 March – St Mary’s Handbridge, Chester
20 March – Traverse, Edinburgh
23 March – Salisbury Arts Centre
24 March – Squire PAC, Nottingham
25 March – Stamford Arts Centre
26 March – Sheffield & Live To Your Living Room
22 April – Kings Place, London
Tickets and Further Details: https://www.leveretband.com/gigs