Carolyn Surrick writes of this new release: “When I called Ronn McFarlane in January to ask if he wanted to play a house concert in April, he checked his calendar and said, “Sure, sounds great!” Members of Ensemble Galilei... are spread across the country, and we don’t usually get together until right before a performance. But Ronn and I live about twenty miles away from each other, so we started rehearsing. February turned to March in this year of COVID-19. There would be no house concerts. But we kept meeting on Saturday mornings... It was a few weeks into March when I turned to him and said, “Hey, let’s make a recording in June.” It was a crazy idea. We didn’t have much shared repertoire... That meant a huge investment of time and energy. I did not receive a resounding affirmative response. But days passed and the reality of the pandemic settled in. Nothing else was going to be happening this spring. No concerts. No tours. Cancellation after cancellation, with no end in sight. “Yes,” he said, “let’s do this.” I called Lindsey Nelson, Ensemble Galilei’s wonderful executive producer, and Collin Rae, the master of strategic marketing at Sono Luminus. I texted our producer, Dan Merceruio. Totally on board. We added rehearsals. Wrote harmony parts. Wrote new music. Arranged our favorite tunes for lute and viola da gamba… All in the shadow of the pandemic. Would we have done this a year ago? Not a chance. We were too busy… The recording exists because of this moment in time...”

REVIEWS:

This instrumental pairing, lute and viola da gamba, occurs only occasionally in Baroque and Renaissance literature. They augment Dowland’s Adew for Master Oliver Cromwell with newly composed works by McFarlane and with arrangements by both players. These are delightfully varied, taking up such works as The Allman Brothers’ Little Martha (originally an acoustic guitar solo by Duane Allman, so not as odd as it sounds), Amazing Grace, and Gounod’s Ave Maria. Some of the selections veer toward the Celtic folk side, including an intriguing version of Blackwater Slide modeled on one by Scottish musician Bert Jansch. Sono Luminus’ sound is, well, luminous, a pleasure throughout. Falling into a class of pandemic-time recordings where musicians rediscovered the enjoyment of home music-making, this is an unusually satisfying example of the genre. 

– AllMusicGuide.com (James Manheim)
What is wonderful and becomes most fascinating are the new compositions and the threading of two or three songs into one. Carolyn Surrick’s viola da gamba has a rarity in its ability to provide shadings of emotions that add great chemistry. Equally, Ronn McFarlane’s investments are worthy and in their own right.

– ConcertoNet.com (Christie Grimstad)

This unique recording of Ronn McFarlane's original music composed for the Lute, enables Indigo Road to bridge the gap between traditional and modern music. All of the compositions were originally conceived as solos, however McFarlane adds parts for bass, flute, harp, percussion, cittern, harmonium and string quartet to several of the tunes, in order to heighten individual mood and character. McFarlane has made a recording of very accessible music as he stays true to the title song, 'Indigo Road', which signifies a spiritual path or the road we take through life. The pieces take the listener down aural roads from one composition to the next: from the peaks of Denali, to Pinetops, into a storming sky in Blue Norther an across Uncharted Waters...we are transported to the future through dreams and left feeling wistful and nostalgic as if remembering the distant past.

REVIEWS:

This is something of a concept album. It’s also a programme that has been toured and performed in concert many times and reaches fruition as a disc. It takes Elizabethan and Jacobean lute music and marries it to the poetry and theatre of the time. Sometimes a single track is given over to verse or a short scene from a play, spoken by Robert Aubry Davis; but also we hear a speech or lyric spoken above, as it were, lute accompaniment. This sometimes makes things difficult to judge artistically vis a vis Ronn McFarlane’s lute playing, but it’s a disc to be measured against a rather wider canvass than usual, a multi-disciplinary words and music presentation.

Most of the music is by Dowland, but there is one piece by Campion, another by Byrd and others by our old pal, Anonymous. The theatrical performances derive from Shakespeare - Henry VIII, The Taming of the Shrew, The Two Gentlemen of Verona - as well as Thomas Heywood’s A Woman Killed with Kindness. There are poems by Wyatt, with which we begin and end, Robert Herrick and Samuel Daniel. Thomas D’Urfey’s wickedly naughty The Wanton Trick is here too.

As an example of a theatrical presentation it works well. Whether it has longevity on disc is a moot point, because some of the extracts are very brief, and also because the lute, played behind the voice, is demonstrably there for evocative effect. Ronn McFarlane has a number of discs to his name of lute music and is indeed a fine player. There are times when he inclined to the brusque and overly metrical - one thinks of Mrs Winter’s Jump for example; the woman in question must have been quite a motoric figure if his playing is anything to go by.

Next we have the spoken element. The method in the Wyatt ‘title track’, and others, is this. Davis speaks the first stanza, and then McFarlane joins in behind him. Note though that they were separately recorded.

The texts are printed in full, and the booklet has been nicely designed and amusingly written (by Davis). Indeed the disc is cleverly programmed.

-- Jonathan Woolf, MusicWeb International

REVIEWS:

Dirty Linen (8-9/99, p.65) - "...one of America's best lutenists....offers 44 tracks of music from three manuscripts from the 17th century. There is generally more nobility than abandon in the treatments...masterfully played."

The revival of the lute and its repertoire in the later twentieth century has been so thorough that it is difficult now to remember how much a "distant shore" the instrument seemed to musicians even a few generations ago. Like the cornett or the viola da gamba or the harpsichord, it was an instrument - and a repertoire, and a set of performance practices - that was all but dead for many years, that needed to be revived more or less from scratch. As for the lute music of the later Baroque period, it represents an instrument long past its heyday: even late-Baroque musicians themselves considered the lute a distant shore - an anachronism.