Bill Leslie s Grace of the Wild Review Anyone who has listened to Bill Leslie over the years knows that a recurring theme of his music is the sacredness of space. He explores that theme by inviting us on explorations of places that are near to his heart. The lion s share of his music has described journeys through his beloved North Carolina his meditation in the pews of Grace Episcopal Church in Morganton, his hikes among the ancient pines of Linville Gorge, and his times walking through the brackish mists of historic Bath. In his newest CD, Grace of the Wild, Carolina s bard traces his roots back even further to Scotland, the homeland of Clan Leslie. In a masterful weaving of traditional Scottish airs and new songs, this album follows Leslie s travels with his son, a fitting narrative from a composer who has introduced us to his own father in other albums. While the traditional tunes give the listener a lovely combination of well-known melodies undergirded by new chords, and would themselves make for an excellent album, it is in the new material that Leslie shines. From the haunting title track (which is reminiscent of Bragh Adair, the Celtic fusion band led by Bill Leslie in the early years of the last decade but with more depth) to the finale, the evocative Across the Moor played on solo low D whistle, this is Bill Leslie at his most mature and most introspective. My personal favorite track, Dunnottar, is an achingly beautiful contemplation on a region of eastern Scotland, the site of a late ancient and medieval hold. In the interlaced whistle, keyboard, and strings, one can hear the ghosts of St. Ninnian, William Wallace, and Richard Coeur de Lion whispering mournfully among the crumbling battlements of Castle Dunnottar. The instrumentation on Grace of the Wild is very strong, not only in the ubiquitous Celtic whistle and guitar, but also with the more unexpected oboe, cello, and bodhran-like percussion. The arrangements by Leslie and pianist Bill Covington are varied and delightfully unpredictable. But it is the moving violin of Jennifer Curtis, dancing through the mists of Caledonia, that reminds us again and again to look back to our roots and remember. As a long time listener of Bill Leslie s music, I have never been able to point to an album that was my favorite. With Grace of the Wild, that may have changed. Garry J. Crites Duke University August 27, 2013 --Garry Crites, Duke UniversityBILL LESLIE Scotland - Grace of the Wild Greycliff Music (2013) Bill Leslie (along with wife Cindy and son Will) traveled to the ancestral home of the Leslie clan recently and despite this being Bill's third visit to Scotland, for some reason, he saw the land with new eyes and a deeper sense of appreciation, fondness, and love for this country of rugged beauty, friendly people, and landscapes that are truly breathtaking. As he wandered taking photos just before and after dawn, some of the songs on this CD began to take root and grow in his mind. Scotland - Grace of the Wild is the eventual end product that sprung from those early morning walks as well as other travels during that trip. All I can say is we are fortunate he decided to get up early each morning. Leslie has blessed us with what I think is his finest album to date, a recording to cherish through many playings. Having reviewed several earlier recordings by this talented multi-instrumentalist (guitar, whistles, piano, organ, keyboards), I knew the artist had a special affinity for Gaelic/Celtic music (there are usually some Celtic-influenced tracks on each album). I have commented more than once on how he and the accompanists (always hugely talented) he plays with sometimes resembles the pioneering Celtic fusion group Nightnoise (one of the founding artists on Windham Hill). On Scotland - Grace of the Wild, this comparison to Nightnoise reaches its zenith. Not i --Bill Binkelman - Wind and WireBILL LESLIE Scotland - Grace of the Wild Greycliff Music (2013) Bill Leslie (along with wife Cindy and son Will) traveled to the ancestral home of the Leslie clan recently and despite this being Bill's third visit to Scotland, for some reason, he saw the land with new eyes and a deeper sense of appreciation, fondness, and love for this country of rugged beauty, friendly people, and landscapes that are truly breathtaking. As he wandered taking photos just before and after dawn, some of the songs on this CD began to take root and grow in his mind. Scotland - Grace of the Wild is the eventual end product that sprung from those early morning walks as well as other travels during that trip. All I can say is we are fortunate he decided to get up early each morning. Leslie has blessed us with what I think is his finest album to date, a recording to cherish through many playings. Having reviewed several earlier recordings by this talented multi-instrumentalist (guitar, whistles, piano, organ, keyboards), I knew the artist had a special affinity for Gaelic/Celtic music (there are usually some Celtic-influenced tracks on each album). I have commented more than once on how he and the accompanists (always hugely talented) he plays with sometimes resembles the pioneering Celtic fusion group Nightnoise (one of the founding artists on Windham Hill). On Scotland - Grace of the Wild, this comparison to Nightnoise reaches its zenith. Not in any way as an imitation, but as an evolution, continuing the same music magic that Mícháel Ó Domhnaill, Billy Oskay, Tríona Ní Dhomnaill and Brian Dunning started with their band. It goes without saying that if you are a fan of albums such as At the End of the Evening and Shadow of Time, you will likely love this record.  Scotland - Grace of the Wild features fourteen tracks, five of them traditional and nine of them original compositions by Leslie. Taking over a lot of the piano playing duties is long-time friend Bill Covington (who also did the piano arrangement and co-produced along with Leslie and John Plymale; Plymale and Wes Lachot mixed the album, and did a splendid job). Joining Leslie and Covington (who, by the way, also plays accordion on the CD) are Jennifer Curtis (violin), Nancy Green (cello), Will Leslie (percussion), David Oh (cello) and Melanie Wilsden (oboe).  Most of the music on the album is low-key, sometimes somber and reflective, other times warm and romantic. There are a few sprightly moments here and there. Many selections capture, in music, the very essence of a country with haunting moors shrouded in fog, sheer, mountains of rock, mysterious lochs surrounded by rolling hills, castles which have stood for hundreds of years, and charming towns and villages. The focal point of much of the album is Bill Leslie's evocative whistle playing, and while all the participating players contribute at one time or another, it is the lilting tones of his whistle that resonate deepest. --Bill Binkelman - Wind and Wire