Ross Ainslie - Vana (2020)

Ainslie is a formidable presence on the Scots Trad scene, from Treacherous Orchestra, Salsa Celtica and his work with Ali Hutton, Jarlath Henderson and many others, it is hard to find a band, act or performance that Ainslie’s pipes, whistles and writing hasn’t been involved with over the last few years. Such ubiquitousness can cause exhaustion though, and this was the route Ainslie found himself on. The retreat provided Ainslie with some very much needed time to reflect and recover after an increasingly hectic few years and spurred him on to record and release his latest album, named appropriately after the retreat itself. Never one to shy away from discussing personal challenges with alcoholism and depression, Ainslie very much wears his heart on his sleeve, the move to Vana was essential. As he said himself: ‘Vana is the final product of a reflective journey towards self-preservation. I was beginning to feel burnt out with the pressures of touring, so I decided that I had to take a step back to breathe and evaluate what direction I wanted my life to go in.’

The album began on his return to Glasgow from the trip and a striking piece of work it is too, rich in Ainslie’s familiar whistles and pipework, with some bonus cittern and bansuri, but with the addition of an emphasis on world music rhythms and sounds, all filtered through Ainslie’s idiosyncratic Scottish voice and perspective. It’s thirteen tracks with one bonus on CD are designed to be listened to, continuously, from beginning to end and reflects Ainslie’s spiritual and physical journey in India. It’s not just a solo adventure though, Ainslie has managed to gather some notable friends for this recording, and what a guestlist it is. Vana features Ainslie’s Sanctuary Band, which consists of Greg Lawson on fiddle, Paul Towndrow on sax, Steve Byrnes on guitar and drums, Hamish Napier on piano and harmonium and James Lindsay on bass. The extended guest list includes such notable figures as Duncan Chisholm on fiddle, Damien O’Kane on banjo, Runrig’s Malcolm Jones on electric guitar, and Shahbaz Hussam on tabla, amongst many others.

Opening reel Science of Life sets the scene well, with Towndrow’s sax and Ainslie’s bansuri creating a mellow duet before hitting its stride with some nifty percussion. Wounded Forest is a calmer, more reflective, air which paves the way nicely for the more exotic Rapa Nui. Absinthe in Aranya feels more fluid, touching on some trippy jazz lines, which mirrors the track’s title, whilst Emergency Operation explodes with some fiery pipes and drums and promises an intriguing story in the origin of its composition.

Although darkness is present in tracks such as ‘the aforementioned Emergency Operation and Concrete Jungle, the album’s focus is more on excitement and hope. Tracks such as Happy Hideaway and Hope in the Chaos provide the welcome promise and enthusiasm of Ainslie’s revived spirits and present a set of exciting, energetic and sheer fun tunes, whilst Gift of Gods takes us back to Scotland’s Hebridean Handa Island for a sublime meditation on this most beautiful duet between Ainslie’s pipes and Chisholm’s fiddle.

Whilst the bonus track, Tune for Everyone emphasises the spirit of the retreat and marks Ainslie’s inclusive attitude, the closer, Maybe Another Time, encourages the potential of a return to Vana, or at least the development of a more spiritual and philosophical Ainslie on future recordings, to quote the track’s narration, ‘Let the daylight crack the night’. It is a hopeful, optimistic, and entirely invigorating finale to a rather handsome album.

Throughout Vana there is a sense of rebirth and renewed energy, it’s clear the retreat provided Ainslie with the time and focus he so desired. And what a treat it has provided for us too, Vana sees Ainslie at his most musically vigorous, experimental, and confident. There is undoubtedly some adept tunemanship here. It is somewhat of a new destination for Ainslie, world music has a stronger presence here than in any of his other releases, but this is world music seen very much through a Scottish lens. It’s a confident, considered, and accomplished release from one of Scotland’s finest and most exhilarating musicians. Take your time with Vana, it’s a slower, more introspective album than Ainslie’s previous Sanctuary. Consider it as, to quote Ainslie, a ‘journey album’ and it should be treated as such. Linger in it and you’ll be much rewarded. And take the heed of Ainslie’s wise words, printed on the edge of the CD booklet demands. ‘nae skipping tracks.. ya kents!’