
If on a Winter's Night presents an arc of songs that conjure the season of spirits, the eerie silences of the snow; days of solitude and reflection for some, a time of re-birth and celebration for many. With traditional music of the British Isles as their starting point, Sting and his guest musicians draw the listener in through a collection of songs, carols, and lullabies spanning the centuries - such as The Snow it Melts the Soonest (traditional Newcastle ballad), Soul Cake (traditional English "begging" song) Gabriel's Message (14th century carol), as well as two of Sting's own compositions - Lullaby for an Anxious Child and The Hounds of Winter. Also featured on the album is Hurdy Gurdy Man - a musical reworking and English translation (by Sting) of Der Leiermann from Schubert's classic winter song-cycle Winterreise. For this exploration of the themes and emotions of winter Sting is joined by friend and long time colleague, guitarist Dominic Miller - and an ensemble of three remarkable musicians from Northern England and Scotland: Kathryn Tickell (fiddle and Northumbrian pipes) Julian Sutton (melodian) and Mary MacMaster (metal string Scottish harp). Additional guest artists include Vincent Ségal (cello), Daniel Hope (violin), Chris Botti (trumpet), Ibrahim Maalouf (trumpet), Stile Antico (vocal ensemble), Cyro Baptista (percussion), Bijan Chemirani (percussion) and the Webb Sisters (vocals). Together they've created an album with a wonderful, warm, and unique ensemble sound - an acoustic meditation on winter.
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The Next "Ghost Story" by K. J. Paradis
If you relish Sting's "Ghost Story", you will likely enjoy much of this album as I do. Sting always seems at his very best when he is moved to present what is meaningful, confessional and/or beautiful. He stumbles when he tries too hard to be clever as it seems to have happened on "Songs from the Labyrinth". Thankfully, "If On a Winter's Night..." is much more courageous and heartfelt than "Songs from the Labyrinth". It seems as if he really wants us to hear these songs, not just the fact that he has learned to play the lute. Much of this album is quite sincere and the artistry is, as a result, felt rather than merely given testimony in most of what you will find. At its best, "If On a Winter's Night..." is quite marvelous. In fact, if you listen to Tracks 1,4,5,7,9,10,11,12,13 & 15 you have an incomparably honest, raspy, and moving 10 song collection - - perhaps the best thing Sting has ever recorded. I humbly recommend that you make this collection of tracks your version of "If On A Winter's Night..."
Much of this album reminds me of the image of the candle melting an arc of an opening over the flame in the frosted glass of David Lean's windows throughout "Dr. Zhivago". "Gabriel's Message" is sparse, elegant, and inspired. "The Snow It Melts The Soonest" is wonderful with threadbare honesty and reaches its pinnacle in the unpretentious bridge. "Christmas at Sea" is intriguing with its organic lilt even if it suffers a bit as a less melodic reinvention of "Why Should I Cry For You". "Cold Song" is beautiful, haunting and emblematic of the best ambitions of the CD. "Now Winter Comes Slowly" is a gem. "The Hounds of Winter" arrangement is inspired and the whole song has great feeling and depth that far exceeds its original "Mercury Falling" exposition. "Balulalow" sounds like Winter wind outside the window with a striking use of background vocals and Mr. Botti's trumpet. "Cherry Tree Carol" is neat, efficient, and uncluttered like a Bento box lunch. "Lullaby for An Anxious Child" should never have been lost to obscurity with "Pirate's Bride". It finds more depth with the context of these songs and the musicianship of the additional parties. "You Only Cross My Mind in Winter" is nearly perfect in conception and execution and leaves you wanting to listen to the whole CD again (or at least my 10 song unofficial version) if only to be present for the ending it creates one more time.
If you are wondering if the praise above are the rantings of a rabid Sting fan as you weigh the value of this review, I should note that I do believe that along with these resplendent achievements there are some fundamental blunders on this CD. "Soul Cakes" seems to be an attempt to say something important but presents a startling lack of lyrical or melodic interest to do so. Note to music historians: some folk songs remain obscure for good reason. "There is No Rose of Such Virtue" is strangled by unconnected percussion that must be a left over sample from "Desert Rose". One cannot help but wonder if Tracks 2 and 3 are meant as peace offerings to those looking for an "uptempo" Police album. "Lo, How a Rose E'er Blooming" - - a beautiful choral song - - is absolutely ruined by one verse with gratuitous, stuccato strings and voice over movie narration theatrics that seem as if Sting is channeling his "existential cowboy villain". "The Burning Babe" seems to have been included more because of the interesting imagery of the lyrics than because it is a complete, compelling song. It's like "Strange Fruit" without any bitter reverance. The awkward parroting of a Marsalis sax solo at the end confirms that something went terribly awry on "The Burning Babe". "The Hurdy Gurdy Man" seems like a contrived opportunity to reclaim the melodeon from the French and to press Chaucer's analog to the obligatory country song every Sting album suffers through.
"If on A Winter's Night.." marks the promise of a reinvention that is at once unique and meaningful and moving. Hopefully, we will see it reach its full flower next time around. In the meanwhile, Tracks 1,4,5,7,9,10,11,12,13 & 15 make for something quite special. I highly recommend two-thirds of "If On A Winter's Night...".