Live review: Follow That!


IT WAS startling to hear the sampled voice of the late Martyn Bennett begin DJ Dolphin Boy and Tom Bancroft's final edgy composition for this exhilarating concert.

We heard Bennett speak about "shit hot" music and that is certainly what is being commissioned in his memory thanks to the Martyn Bennett Trust. The fact that the stage was full of top-notch innovative Scottish musicians of his generation playing daring, risk-taking music seemed so darned right. It was as if the precious instruments he destroyed in a wild fit of extreme pain before he died had been reincarnated along with his own spirit.

Directly inspired by Bennett recordings, manuscripts and jottings, what was offered touched every bit of the rich jigsaw that is Scottish music. Laura MacDonald's elegiac saxophone solo for her opening ensemble piece, a slow-building tapestry of sound infused with jazz sensibility, had a very appropriate Bennett pop feel.

An intensely emotional account by McFall's Chamber of Peewit, Bennett's composition for the play based on Robert Louis Stevenson's Kidnapped, was visionary, fired by Greg Lawson's zipping violin solo and Fraser Fifield's majestic pipes. Bill Wells's magnificently brooding yet quirky offering, meanwhile, embodied Bennett's tongue-in-cheek playfulness.

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