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Album of the Year - Rubai by Flook

This may be the all-time Album of the Year!!! First time we heard them we were stunned. Speechless. Gobsmacked. Left lurching around the house gasping for air. On our knees imploring heaven for more! Addicted! Fans! If you were to buy only two albums this year, Rubai MUST be one of them!! This is totally traditional and brand new - all at the same time!! We have found no one - no one, who does not love this group. There is nothing like them anywhere. We have a countdown going in waiting for their new album, which should be out soon. And what a live performance! We saw them three times at this year's fabulous-as-usual Milwaukee Fest. They were the hits of the Fest, and that includes mega groups like La Bottine Souriante and North Cregg, among others!

Male Musician of the Year - Brian Finnegan

Finnegan is one of the founding members of the astonishing and breath-taking group, Flook. His flute and whistle work with this ground-breaking quartet has left writers the world over running out of adjectives. Flook is the most inventive and sensational group that we have heard for years. What a fresh take on the tradition, what energy! We listened to no album all year as often as this one. It never grows old, as it is so richly layered. All the musicians in the group should be up for an Award for their individual abilities. We have never heard a bodhran player near John Joe Kelly, for instance. But, we decided on Finnegan, for his sure hand is at work here. The album is "Rubai". Okay. Third time during these Awards - he is a genius. Wow!

LiveIreland.com and the
Irish American News

Los Angeles Times
Rubai (World Village 468015)

The first American release from this whimsically named Anglo-Irish instrumental ensemble makes its intentions immediately apparent with the album title. "Rubai" refers to a form of Persian poetry — a curious framework for an all-instrumental ensemble, but not surprising, given the far-reaching qualities of their music.

Los Angeles Times
May 4, 2003

FolkWorld's best CDs of 2002
The editors' choice

The best CD of 2002:
Flook "Rubai" (England/Ireland)

Flook has gone from strength to strength during their career, more and more maturing their very own distinctive soundscape. "Rubai" is without doubt the highlight of their existence, an outstanding CD which is perfect from start to finish.

Flook features two of the best flautists from the British Isles, Brian Finnegan (also playing whistle) and Sarah Allen (also playing accordion), and likewise probably the best and most driving

Most of the tunes on Rubai are composed by Sarah and Brian, taking their inspiration in the Celtic world and well beyond that, with influences from all over Europe. And to add a new dimension to the unique Flook sound, they have invited for the recording some special guests, most notably on a couple of tunes Rory McLeod, offering some trombone blast - sounding superb in the Flook soundscape.

Additionally, this CD could also receive an Award to the most tastefully designed CD, with its beautiful painting in shades between orange, red and green on the cover of one of those folding all-in-one boxes without much plastic.

Folkworld

Rhythms
Australia's Roots Music Monthly

Flook, touring Australia currently, is a decidedly superior Anglo/Irish folk instrumental ensemble that puts a global and contemporary spin on Celtic-style music. Their tunes might sound traditional - and a handful are - but the bulk are penned by the quartet's two lead players, flautists Brian Finnegan and Sarah Allen, who double on whistles and accordion respectively. Flook's fresh sounding and magnetically melodic compositions are greatly enhanced by the group's high level of musicianship, and their willingness to push the parameters of the genre. John Joe Kelly, a master bodhran (one-sided Irish drum) player, and ed Boyd, and imaginative bouzouki and guitar player, provide a dynamic rhythm base, allowing the flute leads to flourish.

Flook's medleys are bright and breezy, as good jigs and reels should be - and occasionally melancholic (viz 'Glass' and 'Rosbeg') - and underpinned by jazzy chords and world groove. With special guests Rory McLeod, Martin Cradick, Seckou Keita and Colin Farrell adding extra colouring, with trombone, wah-wah mandolin, West African percussion and fiddle contributions, and a couple of non-Celtic tunes tossed in for good measure, Rubai offers a fine mixture of tempo, tunes and rhythms.

Tony Hillier
April 2003

The Age
Melbourne, Australia

Flook, a refreshing Anglo-Irish quartet, has been taking the folk world by storm - notably at Australian festivals such as Womadelaide and the Port Fairy Folk festival.

The group can unleash soaring melodies over tightly rhythmic patterns through its unusual combination of two flautists (Brian Finnegan and Sarah Allen, who are also the principle composers) with acoustic guitar (Ed Boyd) and energetic bodhran (john Joe Kelly).

Mike Daly
12.4.2003

LiveIreland
http://www.liveireland.com/

We are most taken here in Chicago with the group Flook.

The hip, LiveIreland listener has been hearing the gang here play this group for months on the different shows. We recently heard the whole album. The album is just out in the States, and it is a stunner, to be sure!! This is the hottest new group we have heard since the likes of Reeltime and Moving Cloud. Wondrous!

Flook has been together for five years in the current incantation. It is comprised of Sarah Allen on flutes and accordion, Brian Finnegan on flutes and whistles, John Joe Kelly on bodhran and mandolin and Ed Boyd on guitar and bouzouki . The group actually began several years back with Sarah and Brian joined by Michael McGoldrick in the highly regarded, Three Nations Flutes. As Michael went on to other projects, Sarah and Brian expanded the concept to include Ed and John Joe. The result is astonishing in the musical sense.

It no longer suffices to simply reel off musical credits, though they are here in abundance.  It would do to mention Armagh’s Brian Finnegan's four All-Ireland Championships on flute and tin whistle. Or, Manchester’s John Joe Kelly’s amazing eight All-Ireland wins on bodhran (6) and drums (2). Also wanting to be included are some of the awards the group has won, such as "Best Festival Gig" at Belfast's Open House Festival and their inclusion in The Top 15 albums as awarded by The Roots Critics Poll of 2002. One of the best measures of it all was Flook's listing in the # 1 position in the Dublin section of Irish Music Magazine’s highly regarded sales tracking effort.

So, the awards and recognition are all in place. Add to that, Sarah Allen’s London musical roots with

One of the sure signs of the musical form's health is the number of revolutionary groups, like Flook, taking the traditional form so recognized as  “Irish traditional acoustic “ and reshaping it entirely. Says flautist, Sarah Allen, “ We all come at this from different directions, and then enjoy combining all our ideas.” There is the secret. There is little to be gained, as Flook realizes, from simply recording a set of new reels and jigs, printing some copies and praying for fine weather. “ We really love the traditional stuff, but we also want to make it our own. Give it our feel,” says Brian Finnegan.   To be noticed in any market - never mind America's behemoth - takes something of real quality, and something new. Here it is.

This is the type of music that comes from years of touring together and developing a common (uncommon!) approach to the tunes. Those selections come from a number of sources, many from Flook itself. All four musicians share arrangement credits. It can be heard instantly - right from the first cut.

These tunes have been lovingly worked on for years, in sessions, rehearsals, gigs, and finally, the recording studio itself. Only musicians of this caliber can then bring this sense of impromptu energy and vitality to arrangements so lovingly crafted. After five years on the road, Rubai represents the pure distillation of those tunes, and four sensational musicians now at the top of their powers. This is no "throw together" album. Or group.

There is tradition aplenty, mixed with an astonishing amount of other influences, most importantly, a real jazz bent on much of the flute work. This is magically evident. It is an album that immediately hits the

These additions for the album help give a sense that these musicians ARE carving out something very new. Reels, jigs, airs, polkas and numbers with such intricate rhythm patterns as to be indescribable abound. As the group has no formal home base, its continuous traveling and performance schedules have opened new blends, new areas, and new avenues. No one else sounds like this. Remotely. Like many of the legends, the listener will be able to hear this from ”four rooms down“, smile and say, "Flook".

It usually is simply enough to be this terrific in the studio. By the way, the perfectly blended and engineered numbers were recorded at Presshouse Recording, in Devon, England.  The group had heard of the excellent reviews regarding the studio, but had no idea until arrival that Presshouse is owned by Jethro Tull’s guitarist, Martin Barre!

It may well, as stated, be enough to be this wonderful in the studio. But, Flook has long held the reputation of "must see" in concert. At any festival or concert booking, the group's total mastery of the music comes to the fore. The "advanced word" on this group's high energy concerts is as one of the hottest in the music, and rightfully.

America should fasten its collective seat belt, and catch up with the lucky Europeans already hipped to these musicians. With the release of this powerful bolt of lightning, the traditional musical form will never be quite the same. This IS different. And, wonderful.

LiveIreland

Roots Review

Rubai
Flook - Rubai
(Flatfish 004CD)

Rubai - ‘A four-line poem, in perfect rhyme, full of music, rhythm and breadth’. This definition, so kindly provided in the CD’s sleeve notes, pretty much sums up Flook’s music in one fell swoop. This incredible album, released in 2002, is brimming with energy and sheer musicality, and is a joy to listen to - from the first chords your feet are tapping and you’re struck by Flook’s ability to write gorgeous, traditional tunes that get right inside you!

The line up on this album is John Joe Kelly on bodhran and mandolin, Ed Boyd on guitars and bouzouki, Brian Finnegan on flutes and whistles, and Sarah Allen on flute, alto flute and accordion - and all were seemingly born to play! There are some superb guest musicians here, too - Martin Cradick (wah-wah mandolin), Colin Farrell (fiddle), Seckou Keita (percussion), Rory McLeod (trombone), Mark Tucker (e-bow acoustic guitar) and the ubiquitous Ewen Vernal (bass).

Much of the material is written by Allen & Finnegan, though there are some outstanding contributions by Gordon Duncan and Ale Moller. The resulting recordings are a delicious fusion of musical styles,

Next comes the gentle, beautifully paced Glass Polka (written by Moller), where Allen & Finnegan’s superb timing and complementary flute-playing styles are awesome – their flutes ‘talk’ to you and ‘breathe’ on you in this track!

You really do have to brace yourself for the next tune, GD’s (by Gordon Duncan, of course). Lulled into a false sense of security by the gentle wah-wah mandolin intro, your ears are suddenly assailed by a breathtaking burst of energy called Pressed For Time (if ever a tune was more aptly named!!), a track of huge pace and energy where Kelly’s bodhran beats out its relentless, unstoppable and enticing rhythm – what a player! For me this is the most outstanding track on this album, and showcases Flook’s ability to

With Granny in the Attic, Rory McLeod’s laid-back trombone is somehow the perfect accompaniment to those incredible flutes. As Blue Ball kicks in, you draw breath again as you listen to Kelly, his bodhran playing supremely confident. Then the pace relaxes again with Suaimhneas Intinne and Rosbeg, a couple of beautiful airs penned by Finnegan, his lovely flute playing accompanied by Allen’s gentle accordion playing. Always in your mind as you listen is the intense melodious quality of these tunes.

A complete contrast follows, with Boyd’s Grecian bouzouki playing reminding me of Cat Steven’s Rubylove (and my carefree student days!). We’re soon back to the bodhran, though, with Larry Get Out of the Bin & Elzic’s Farewell. Natterjack, a joyful trio of reels, rounds off this album perfectly, aided by Colin Farrell’s fiddle and THAT bodhran!

This is a great CD, one that is guaranteed to get your feet moving, make you smile, lift your spirits right up – and in the case of GD’s, leave you breathless! Check out www.flook.co.uk for lots of great information about this band & their history; and their relentless energy seems to extend to their desire to share their great passion for their music with others – they run music workshops and tour extensively!

© Debbie Koritsas
January 2003

Rootsworld
http://www.rootsworld.com/

Each new Flook release expands this dynamic group's sound. Originally a group that focused on the interplay of flutes and wind instruments with an underpinning of rhythm guitar, Flook has evolved so that one can only sit and wonder how the musicians are able to maintain their frenetic pace.

"Granny"The CD begins with enormous promise, the jazzy arrangement of the "Pod" set's first tune "Baldy Hollow" giving way to the sumptuous acoustic funk of "The Empty Pod." Swiftly, the listener recognizes that Flook are incorporating even more world music and rock influences than in the past. The requisite English and Irish roots are present, but there are nods to Swedish and Greek tunes as well.

Throughout Rubai, Ed Boyd proves himself to truly be a remarkable

The moods on Rubai shift quickly, as Flook delight in turning a tune around on its head and barreling off in unexpected directions. For instance, the "G.D.'s - Hooper's Loop" set is intense; ghostly echoes initially frame the composition, and these continue throughout the back of the hectic swirl of sound Flook builds. The inclusion of guest Rory McLeod's trombone playing on the "Granny Set" and "Natterjack" make those tracks simply intoxicating. A welcome addition to the Flook repertoire is Ale Möller's "Glass," a slow Swedish tune that Flook handle with the delicacy of a snowfall.

Rubai is a dense, overwhelmingly fun release that keeps the listener on her toes. Is it only a matter of time before Flook begin to add vocals to their acoustic mastery?

Lee Blackstone

Dirty Linen

The key to Flook's success is in getting such a large, expansive sound out of just two flutes, guitar and bodhran.

Part of the credit goes to the composition skills of Brian Finnegan and Sarah Allen, who write big, bold, sophisticated tunes that allow the members to shine both as soloists and as part of the ensemble.

On Rubai, they also expand the sound a bit, with little touches like fiddle, trombone, and percussion on some of the pieces.

One of the most exciting groups around.

Dirty Linen
April / May 03

Cranky Crow World Music
http://www.geocities.com/pherlevi

Celtic sensation Flook has critics tripping over adjectives when trying to describe this quartet's music.  Critically acclaimed, the award winning Flook does place a new spin on Celtic music that features frolicking flute interlaced with jazzy improvisations, accordion, trombone, guitar, fiddle and wah wah mandolin compliments of Baka Beyond's Martin Cradick.  The group's second CD, Rubai carries with it the essence of Rubai which Flook describes, "a four-line poem in perfect rhyme, full of music, breath and rhythm."

The members of Flook include flautist and accordionist Sarah Allen who hails from London, guitarist Ed Boyd from Bath, mandolin and bodhran player John Joe Kelly from Manchester and virtuoso flautist Brian Finnegan from Armagh (Ireland).  Together these musicians turn Celtic traditional music upside down while mapping out new musical territory.  When they unite with a host of guest musicians, they create a Celtic orchestra and this is most evident on the CD's last track, Conlagh's Big Day in which

Not all the tracks are this lively as many moods are explored on Rubai.  Glass composed by Norwegian piper Ale Moller (see Scandinavian music) focuses on an interplay of haunting flute melodies that conjure up a visit to the misty British Isles or Norway's Fjords. Rosberg, which recalls recordings by Novia Scotian virtuoso flautist Chris Norman carries with it a lamenting quality in which the flute's clear notes hover over an accordion backdrop.  The Pod suite opens with the slow and lyrical Baldy Hollow then slides into the high kicking and jazzy The Empty Pod.  Beehive blends syncopated Latin jazz guitar with bouncy alto flute.

It's easy to see why Flook's recordings and performances have garnered adjectives such as "stunning," "little short of miraculous," and "hot."  Even those folks who dislike Celtic music will find themselves tapping their feet to this recording.  It's simply irresistible.  And this friendly British quartet invites listeners to visit their web site www.flook.co.uk

Cranky Crow World Music
PLH