Blues never looks easy on paper, but this is nicely under the fingers with some sleazy triplet runs at a nice lento pace. A few accents and staccato marks shape the structure and add a gutsy feel that's toe-tapping good.
An unexpected middle section devoid of triplets grabs one's attention. Quiet semiquavers support a repetitive calling motif, and gradually the pulsing accompaniment gives way to some fierce-looking arpeggios that are actually rather nicely executed by ligados on a single string. The three-against-two falls out in the wash and players won't have any problems here with what looks tricky on paper. Neat and atmospheric.
But here comes the triplet sleazy bit again. And another pile of scary notation that is actually a few simple shapes dragged up and down the fingerboard to make an authentic-sounding section for little effort. There are, to be honest, some tricky rhythms here, but between you and me, l don't think it matters much if we get them wrong - little solo tag lines deserve some rubato, after all!
The ending sees an explosion of ink on the page, but anyone who can master that big chord of F will simply find that all these sharps and flats are simply the same chord slid up the neck.
Our composer has decided that 24 notes at once, all strummed in triplets isn't going to be the end, however, and the final section slams the brakes on and some free format brushing of the bottom string as high as fret 24 (yes, l'm puzzling over that too) sees the piece die away to a ppp chord that, in true blues style, incorporates a seventh.
Typesetting is commendably clear, and only one line has a page turn, and there are eight leisurely beats of rests in which to do that.
Not that easy to put a Grade on this ensemble - a strong left hand that can do six-note bar chords is needed and players need enough ensemble maturity to keep the piece in step, even if the rhythm is bent a bit here and there. But like all blues, it's a crowd-pleaser with an audience.
Derek Hasted (Classical Guitar Magazine)
