When The Day Is Done: Orchestrations Of Robert Kirby / Various

Not every musician develops his or her own style alone. Many collaborate so closely with an arranger or producer that the ensuing sound also becomes part of the collaborator’s catalog. Tony LiPuma gave an added sophistication to Diana Krall’s transparent jazz piano and cocktail vocals. Nelson Riddle’s urbane strings sweetened decades of vocalists, including Frank Sinatra, Ella Fitzgerald, Nat “King” Cole, and, more recently, Linda Ronstadt, on her trio of albums of standards. Claus Ogerman’s lush colorations brought Antonio Carlos Jobim to the masses. And Creed Taylor, founder of the CTI jazz label, with its gatefold LP covers, and emphasis on simpler melodies, practically defined the pre-smooth-jazz era, with the likes of Bob James, Hubert Laws, Deodato, George Benson, and Astrud Gilberto.Robert Kirby is credited with the subtle orchestrations that graced Nick Drake’s melancholy British folk with its enticing, haunting air. Indeed, it’s a safe bet that, without Kirby’s pastoral touch, Drake’s Five Leaves Left and Bryter Layter would not have grown from their initial commercial failures to the world-wide recognition (and imitation) they possess today. However, as this illuminating Ace-UK set shows, Kirby’s trademark tracings transformed many other artists as well. Audience’s “Raviolé” is spiced with saucy chamber strings goosing the guitar lines. Ian Matthews’ “Gimme an Inch, Girl” rides on pianissimo pads that landscape the longing. Kirby paints Shelagh McDonald’s “Ophelia’s Song” in peaceful shades. Vashti Bunyan’s feathery voice is decorated only with delicately draped spiderwebs of piccolos and recorders in “Rainbow River.” Spriguns’ “White Witch” may suggest Bread’s “Make It with You” in its melody, but the seductive dance done by Kirby’s woodwinds and strings around Mandy Morton’s vocals is subtle perfection. And on it goes: the magic of Kirby’s colors is how they remained in the background of each artist’s arrangements, yet were essential to the artists’ respective sonic portraits. Kirby, whose mastery laced through 40 years of British folk and progressive rock, is another unsung hero. This collection begins to set that right.

„When the Day is Done“ ist nicht gerade einfach zu beschreiben, denn es handelt sich in erster Linie um ganz fantastische musikalische Perlen die auf diesem Album zusammengefasst sind. Der Bogen, der diese zwanzig Songs umspannt, ist die orchestrale Bearbeitung.Den Anfang macht „Introduction“ von Nick Drake. Seine drei LPs stehen schon seit Jahren in meinem Regal und werden in beständiger Regelmäßigkeit im Herbst, wenn die Tage kürzer werden und der Kamin wieder angezündet wird, herausgeholt.Intensiver befasste ich mich mit Nick Drake während und nach dem Lesen des Buches „White Bicycles“ von Joe Boyd. Mittlerweile fand ich noch einmal einen ganz anderen Zugang zur Musik von Nicke Drake. Zu dieser Neubewertung trug auch maßgeblich Robert Kirby bei, der mit seiner musikalischen Unterstützung (Streich-, Blech- und Holzsblasinstrumente) einen großen und intensiven Anteil an der Gestaltung dieser Werke hatte.Nach und nach vergrößerte sich die Schar der Singer und Songwriter, die sich der Unterstützung von Robert Kirby bediente. Eine Auswahl derer ist auf diesem Sampler vereint. Allein die Namen derer, die zu dieser CD beitrugen, lassen aufhorchen. So sind Songs vom bereits erwähnten Nick Drake (Schade, nur ein kurzes 1:30 Minuten-Stück), Steve Ashley, Richard & Linda Thompson, Ralph Mc Tell sowie Ian Matthews dabei. Erwähnt werden muss aber auch Vashti Bunyan, John Cale und und und...Zu den herausragenden Songs dieses tollen Samplers zählen für mich zweifelsohne Sandy Denny's „Silver Threads and Golden Needles“ aus dem Jahre 1977 sowie das knapp siebenminütige „Madonna Blue“ von Illusion aus dem Jahr 1978. Es war damals die zweite LP der Briten, die ihren Progrock an klassische Motive anlehnten. Überragend auch der Dana Gillespie-Song „What Memories we make“ und Tim Hart & Maddy Pryor's „Dancing at Whitsun“.Ja, mit diesem Sampler macht es Spaß nochmals in die 1970ziger Jahre einzutauschen. Es werden höchst unterschiedliche Elemente der Rockmusik beleuchtet. Insgesamt ist diese Zusammenstellung sehr britisch und lehnt sich sehr stark an die folk-musikalischen Einflüsse der Rockmusik an.Der Sampler zwingt den geneigten Hörer förmlich, (wieder mal) fast schon vergessene LPs aus dem Regal zu ziehen und sich mit der damaligen musikalischen Entwicklung zu beschäftigen.Wenn ich die Namen Sandy Denny und Richard Thompson sowie Ian Matthews lese, dann stoße ich doch unweigerlich auf „Fairport Convention“, die wiederum zwangsläufig zu Joe Boyd führen. Boyd ist das Bindeglied zu Nick Drake, Steve Ashley und Vashti Bunyan.So bietet diese CD nicht nur reichlich exzellenten Hörgenuss sondern inspiriert, Bücher dieser Epoche aus dem Regal zu holen und sich die damaligen Zusammenhänge erneut zu Gemüte zu führen.Fazit: Ein in jeder Hinsicht absolut lohnenswertes Werk!

Next year (2019) will mark the tenth anniversary of the death of Robert Kirby at the age of only 61 – this thoughtful compilation makes a rather interesting tribute to some of his earlier work. The album's title “When The Day Is Done” references Nick Drake and many of Nick's fans will be familiar with the orchestrations Robert Kirby provided for a lot of his songs – however, album compiler Bob Stanley has dug a little deeper in the music vaults and found some other minor classics from the British folk scene of the nineteen-seventies, which also feature Robert Kirby's talents. Reading something like a who's who of the folk scene at the time Bob Stanley has used his considerable knowledge of the subject to sequence a running order that flows well and packs the single CD with over 78 minutes of carefully curated examples of Robert Kirby's rather melancholy orchestral style. This album was released on the Ace label in February 2018 and is up to that label's usual high standard for sound quality (mastering by Nick Robbins) and production values, with the compilation and very informative booklet notes by Bob Stanley - with his music journalist hat on this time rather than being the famous musician. I came across some old favourites included here and although I probably did not make the Robert Kirby connection when I first heard them it becomes rather obvious when the music is all collected together; a lovely relaxing CD to play in the evening - When The Day Is Done.

One of the great unsung arrangers of his generation, Robert Kirby's strings have enriched the sound and emotional impact of many wonderful musicians. Best known for his work, and friendship with, Nick Drake, I would imagine many music fans (like I was) will be surprised just how many of the classic era folk/rock greats Robert worked with. Whovever he was arranging for, the same high quality orchestration was the result. Indeed, listening to the varied tracks on this compilation, you can't imagine the music without Robert's orchestration - so integral to the composition is his input. If, like me, you take a keen interest in late 60's/early 70's British folk/rock music, this album is essential. Even if you own most of the tracks on their original albums, like I do, there is a fresh appreciation of the man's talents to be gleened by hearing these pieces together on one album. As a celebration of one man's influence on a musical genre, When Day Is Done is an unmissable listen.

This one of the most beautiful albums I have heard. If you are a fan of 1970's folk music or are a fan of Nick Drake, Vashti Bunyan etc, then this the album for you. Not a duff track on this CD - which includes so many great and some unbelievably undervalued artists! It would be wrong to list the standout tracks as they all are!

Ascolto interessante: alcune costanti nelle orchestrazioni danno l’idea dell’immaginario e della tavolozza a loro disposizione utilizzata negli anni di Nick Drake