Written by Fergus McCreadie’s album, “The Shieling,” continues his exploration of Scottish folk influences through the prism of modern jazz, presenting a deeply rooted yet refreshingly original sound. Recorded in an intimate setting within a remote cottage on North Uist in the Scottish Outer Hebrides, the album captures the trio’s live synergy with remarkable clarity. McCreadie performs on an upright piano, accompanied by David Bowden on acoustic bass and Stephen Henderson on drums.
From the opening bars of “The Wayfinder,” the music conjures the rugged atmosphere of the Highlands through a pianocentric approach that builds organically. The sensitivity in McCreadie’s touch and the subtle layering of harmonic and rhythmic elements throughout the track set the tone for what follows. The interplay within the trio shines through compositions such as “Sparrowsong,” where contrapuntal lines emerge between the pianist’s hands, creating a dense but transparent harmonic fabric with Bowden and Henderson adding to the track’s textural complexity without overshadowing the piano’s role.
Moments of spaciousness and reflection are skillfully rendered in pieces like “Lily Bay” and “Fairfield,” where sparse bass and drum contributions underscore McCreadie’s lyrical lines. These tracks embody a pastoral calmness that contrasts with the album’s more rhythmically assertive moments. Traditional Scottish dance rhythms is invoked subtly in “Climb Through Pinewood,” where a Scottish jig feel emerges through a rhythmic motif that refrains from mere replication, instead morphing into a jazz-inflected groove that feels rooted yet contemporary at the same time.
The trio’s willingness to experiment with repetitive structures and ostinati, as heard in “The Path Forks” and “Ptarmigan,” expands the album’s reach, introducing hypnotic patterns that serve as framework for McCreadie’s melodic exploration. These pieces offer intriguing variations on texture and form without sacrificing melodic sensibility. “Windshelter” revisits folk inspirations through more implicit harmonic gestures, seamlessly blending with the album’s jazz context.
Percussive elements receive particular attention throughout the recording. Stephen Henderson’s drumming suggests textures reminiscent of traditional instruments such as the bodhrán, whether it was actually used was not stated in the press release but if you close your eyes and just listen you can certinaly smell it. This nuanced approach adds an extra layer of rhythmic authenticity, grounding the music’s folk references while maintaining overall jazz fluidity.
“Eagle Hunt” stands out with its contemplative opening, reinforced by a percussion intro that gradually builds toward a climactic point, demonstrating the trio’s command of pacing and narrative. The closing track, “The Orange Skyline,” finally offers a slow, meditative resolution, characterized by spacious arrangements and quiet dignity. The sense of place permeates the music, with McCreadie’s compositions evoking the elemental qualities of the Scottish landscape, its rugged terrain and atmospheric nuances, through harmonic complexity and rhythmic subtlety.
The recording’s sonic side also deserve specific mention. The upright piano’s tone is captured with remarkable fidelity and perfectly fits the overall vibe of this album. This recording quality invites close listening and rewards attention to subtle dynamics, articulation, and ensemble interaction.
Fergus McCreadie’s artistic journey is clear when listening to “The Shieling,” an album that thoughtfully builds on the strengths of his earlier records such as “Cairn,” “Forest Floor,” and “Stream.” The interplay within the trio is marked by a rare understanding and responsiveness that shapes each track’s emotional narrative without the need for overt dramatics.
The album avoids any showmanship or technical flash, instead favoring a sustained development of textures and subtle intensities. David Bowden on bass provides an anchoring melodic presence. Stephen Henderson’s drumming is both thoughtful and varied, offering nuanced support underpinning the trio. McCreadie however stands front and center, expressing a complex blend of fragility and strength. His voicings and phrasing reveal a deep emotional and cultural sensibility.
For listners attuned to the intersection of folk tradition and modernity, “The Shieling” offers a nuanced study in the balance between rootedness and innovation. The ensemble’s measured dynamics, harmonic inventiveness, and rhythmic interplay invite an engaged, contemplative listening posture. Rather than breaking new ground with overt stylistic gestures, the album excels through the refinement of its conceptual and musical ideas.
Overall, the album substantiates Fergus McCreadie’s progression as a leading voice within British jazz and beyond. “The Shieling” is a compelling example of jazz’s capacity to absorb and reinterpret musical languages with clarity, subtlety, and emotional depth.
Line-Up:
Fergus McCreadie – Piano | David Bowden – Acoustic Bass | Stephen Henderson – Drums
Track Listing:
“The Wayfinder” (4:09) | “Sparrowsong” (5:14) | “Lily Bay” (5:37) | “Climb Through Pinewood” (5:17) | “Fairfield” (5:56) | “The Path Forks” (4:07) | “Windshelter” (3:26) | “Eagle Hunt” (6:43) | “Ptarmigan” (4:05) | “The Orange Skyline” (6:33)
Release Details:
Release Date: October 24, 2024
Format: LP | CD | Digital
Label: Edition Records.
All photos by Dave Stapleton.
Last modified: October 22, 2025
