Guitarist Tony Cuffe Blends a Hearty Scot Broth

Tony Cuffe is that rare individual who embraces tradition and change. The singer-songwriter-guitarist from Scotland is fond of his cultural roots. But a purist he definitely is not: He says Celtic music must evolve and expand to flourish in modern times.

“It’s not a dead music,” he said in his thick brogue. “It’s hundreds of years old, but it’s a healthy music because we’re experimenting with different strains and blends of folk, rock, jazz and dance.

“Just look at the success of ‘Riverdance,’ or how the Chieftains brought Spanish music to their latest album [‘Santiago’]. There’s even room for someone [Ashley MacIsaac] who combines traditional Irish fiddling with aggressive grunge-rock.”

After years of singing and playing guitar in traditional Scottish groups, Cuffe decided in 1991 to pursue a solo career. “I still enjoy playing with other musicians,” he said. “But it’s more flexible solo because in a band someone might not like a song that I really care for.

“Now, I choose all the material and just go ahead and play it.” He plays two solo sets tonight at Shade Tree Stringed Instruments in Laguna Niguel.

Cuffe’s decision to go solo came in conjunction with a move from Scotland to Arlington, Mass.

“I’d pretty much exhausted my career prospects in Scotland,” he recalled on the phone recently. Ossian, his band at the time, “was playing a six-month tour in the U.S., so I brought my family over from Scotland to check out the American way of life.

“We liked it, so we settled here. And living near Boston has been wonderful. The local music scene is alive, with nine or 10 Celtic programs on local radio. Plus, we’re just a five-hour plane ride away from Scotland, so we can still visit family and friends.”

*

Cuffe, 42, was born and raised in the town of Greenock, about 20 miles north of Glasgow. The sweet sounds of traditional Celtic music often filled the working-class family’s living room back in the ‘50s and ‘60s when, Cuffe recalled, singing together was as common as watching TV is today.

“I remember so many family parties with my grandparents, aunts and uncles and cousins. . . . Everyone would do a turn singing a jig or reel,” said Cuffe, who also plays tin whistle, harmonica and Celtic harp. “And my father, who is Irish, well, he sang a bit too. After working in the nearby shipyards, he loved to come home, sing and listen to those traditional Irish ballads.”

Cuffe’s penchant to balance tradition and innovation marked his solo debut, “When I First Went to Caledonia” (1994, Iona Records). Along with its laments and jigs, the 11-song collection feature several reels (“The Lass O’ Patie’s Mill”) and hornpipes (“Dr. McInnes’ Fancy/Jim Tweedie’s Sea Legs”) that Cuffe rearranged as solo guitar instrumentals.

His splendid acoustic work draws from a variety of sources including folk, ragtime, pop-rock and the blues. His biggest influence during his formative years was John Renbourn, lead guitarist of Pentangle, the late-60s British folk group.

“John was always challenging himself, and I try to take things a step further whenever I can. I finger-pick a lot and use open tuning, with the guitar basically tuned to chords that the pipes can’t do. It opens up different harmonic possibilities, and you get this kind of droning effect.

“I like to explore the dynamics of the music. Sometimes I’ll play a bass part with my thumb and pick up the melody with the treble strings. It’s fun to fool around and see what works--and even what doesn’t.”

Cuffe flew home last summer to take part in a project honoring the bicentennial of Robert Burns’ death, recording 11 songs for the first two of 13 volumes titled “The Complete Songs of Robert Burns” (Linn Records.) The set will include 370 songs by various Scottish folk singers paying homage to the great 18th century poet and songwriter.

Instead of picking Burns’ better known material, such as “Tam O’Shanter” or “The Cotter’s Saturday Night,” Cuffe chose lesser known works typified by the lighthearted, humorous “Cooper of Cuddy.”

“It was fun choosing some obscure songs, and since each one had to be recorded very quickly--we only had an hour per song--they all sound very fresh. There’s this live quality about them.

“Because of the broad dialect and archaic phrases, [Burns’] work does require some concentration. And a peek at the reprinted lyrics doesn’t hurt. But it’s quite worth the effort, really. To me, Burns went beyond simply telling stories. He knew the value of words and appreciated how each one sounded and interacted with one another.”

A portion of Cuffe’s concerts today will be devoted to Burns’ poetry, letters and songs.

Cuffe will be joined onstage by “limberjack Donald McDonald,” which Cuffe describes as a “wooden dancing doll on a stick with a life all its own.” The lively prop dances while Cuffe plays.

“I know, it sounds kind of dumb when you’re talking about it, but he dances quite realistically, and the whole routine is actually very traditional in the British Isles and parts of Scotland.

“I hope concert-goers come away with some kind of perception of what my culture is all about and its relevance to what’s going on today. Some of these songs are 200 years old but still deal with the same issues we face, like falling in and out of love and social injustice. I think these lyrics are timeless.”

* Tony Cuffe plays today at Shade Tree Stringed Instruments, 28062 Forbes Road, Laguna Niguel. 7:30 p.m. (sold out) and 9:30 p.m. $15. (714) 364-5270.