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Pop
and Contemporary Music |
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East
- Pathfinder
Opus 3 CD 22061 Reviewed by AKB
A guitar is a guitar is a guitar? Wrong-o! Each instrument has its own
sound and its own soul. Seventeen(!) different types of guitars in a studio,
up to five guitars a track, 45 days of recording, mixing and mastering
– and every single note is worth the time and effort! Pathfinder,
the latest release from the Swedish label Opus 3, is a kind of movie for
the ears.
Take a little bit of Latin, mix it with a little bit of rock, add a dash
of pop and some Django Reinhardt style, and… No, it’s not
that simple! Listen two, three times, and you will realise that Bert "East"
Östlund is a superb musician who really works miracles. Using a special
overdubbing technique, this album has been created layer by layer –
like one of those masterpieces from Da Vinci and Co. And that’s
what it is: A masterpiece! However, it’s no antique, but in a modern,
or more precisely, a 50’s/60’s style. Östlund’s
music isn’t a mere mixture of stylistic elements, he’s no
simple chameleon but has found in a career spanning over 40 years, his
own musical language. The result is as pleasing as it is emotive: Catchy,
but never superficial melodies in combination with excellent technical
skills make a delighting easy-listening sound that should long survive
the summer!
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Eric
Bibb - Livin’, Lovin’ & Doin’
Hatman 2020 Reviewed by DD
This collection is a retrospective covering Eric Bibb’s releases
for Hatman records. Bibb is more than familiar to audiophiles from his
early releases for Opus 3, prime demo fodder and very enjoyable to boot.
His later releases for Manaton/Hatman have also been worthwhile and this
set forms a reasonably comprehensive overview of the man’s later
work. Standouts from this collection include a powerful duet with Ruthie
Foster in ‘For You’, a lovely, rolling version of ‘Tell
Riley’, an impassioned version of the Rev Gary Davis’ ‘I
Heard The Angels Singing’ and a great live version of ‘Don’t
You Ever Let Nobody Drag Your Spirit Down’. The latter is powered
by the Cultural Heritage Choir delivering great slabs of gospel choruses
with Bibb joined by no less a luminary than Wilson Pickett to share lead
vocals. The CD also includes a new live version of ‘Saucer’n’Cup’,
and a studio version of a new Bibb song ‘Trust the Dawn’.
For relaxed, undemanding enjoyment Eric Bibb is always a safe bet and
this set doesn’t disappoint. I recommend starting with the Opus
3 releases; they combine strong songs with outstanding recordings that
still have the edge over the later releases. If however you know the man
this set forms an excellent introduction to his more recent stuff with
the added bonus of two new tracks.
Supplier: www.vivante.co.uk |
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Jewel
- Goodbye Alice In Wonderland
Atlantic Records 7567837992 Reviewed by AH
III years ago Jewel Kilcher appeared to come from nowhere with the release
of Pieces Of You, an acoustic folk album reminiscent of Joni Mitchell
which has gone on to sell over 11 million copies. Subsequent releases
never quite reached those numbers but she remains a popular artist, even
allowing for the odd misadventure. The last album 0304 was a big selling
release but didn't do her artistic credibility any good; no doubt some
bright spark at the record company thought it would be a good idea to
turn her into the new Madonna.
Fortunately Goodbye Alice... harks back to the kind of introspective and
biographical style she does best.
Jewel has an incredibly flexible and at times exhilarating voice, and
that coupled to her beautiful lyrics makes for a pretty intoxicating brew.
These 13 songs tell the story of her life, from humble beginnings in Alaska
to Stephenville Texas, where she now resides. Bob Dylan's a fan, and on
'Stephenville Tx' quite obviously an influence. She can't be accused of
being a straightforward composer, not with her lyrical prowess and the
fascinating grasp she has on melody and structure.
Right now I can't think of many singer/songwriters out there with as much
talent as Jewel, and this is her best since Pieces Of You. |
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…And
You Will Know Us By The Trail Of Dead - Worlds Apart
Interscope Records 2103697 Reviewed by MC
Every release from …Trail Of Dead has seen then become more and
more mainstream, leaving behind some of the most out-of-control elements
in their music, even embracing song structures and melodies. Their last
album Source Tags And Codes went as far as to achieve moderate commercial
success. Since then they have dropped out of the limelight and so Worlds
Apart was released with little fanfare.
This record may have received criticism from their original fans, but
personally I consider it to be their greatest achievement to date. Listening
to it, it’s hard to see how they could ever write a finer record.
The album succeeds so well because it perfectly matches their old anarchic
sound with something more punchy and accessible. Any more structured and
they would have sold out, any less so would be a regression. The balance
they have managed to strike allows each element of their
music to be heard and appreciated. With elements of Pink Floyd and Mercury
Rev, they blend classic American rock with progressive influences and
then simply let it all grow and evolve.
…Trail Of Dead are a dying breed these days, settling for nothing
less than the monumental. Every song is massive, an epic soundscape with
boundless ambition. Worlds Apart drips with bile and bitterness for all
the injustice they see, spat out just for you. |
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Rick
Vito - Talk That Talk
Hypertension HYP6248 Reviewed by AH
If your record collection takes in a lot of the classic American bands
and singer/songwriters then you will have heard Vito's sparkling guitar
playing leaping out of your speakers. He's been a member of Fleetwood
Mac Mark 2, toured with Bob Seger and featured on his records ( it was
his fantastic slide solo on `Like A Rock' ), played on Jackson Browne's
`Lawyers In Love' - the list goes on and on.
He's also a highly respected songwriter; he penned 'Midnight,2am' for
Shemekia Copeland which won a W.C.Handy award, so his credentials are
second to none. Vito's also released a string of fine solo albums and
just to make us all sick, he's a good singer too!
Talk That Talk, his latest album for German label Hypertension, is another
first class release rippling with brilliance. The style is bluesy but
mixed liberally with rock `n' roll, swing and r`n' b sensibilities, and
right from the off he has the groove in his pocket.
Rockers like `Talk That Talk' sit comfortably alongside lazy, slide-driven
back porch numbers (`Easy Does It') and Albatross-esque instrumentals
(`Change Is Gonna Come'), and it's one of those albums where once you've
got to the end you just press play and listen to it all over again. Oh,
and he produced it as well. It's just so unfair... |
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Sílvia
Pérez Cruz & Ravid Goldschmidt - llama
M·A Recordings M070A Reviewed by AKB
Sometimes, there are really mystic moments: You listen to a record and
the music touches you deep inside. I mean the moment when time suddenly
seems to be irrelevant – as happened with llama!
It’s really incredible, the sound Ravid Goldschmidt raises from
the Hang, a strange Swiss percussion instrument. What at first glance
seems to be two woks, emerges as a fascinating percussion instrument.
Be reassured, from the very first note, the sound will attract and fascinate
you! It’s music from history, from lost cultures with ruminant repetitiveness,
underscored by the character of the Hangs: archaic, Pentatonic and Aeolic.
Against all expectations, the Hang (Swiss-German for hand) is an instrument
with a wide range of dynamics and variety of colours – and Ravid’s
performance is clear evidence of his virtuosity!
Recorded in a small chapel in Barcelona, the CD captures the atmosphere
and spaciousness completely. llama (which means "flame" or "fire")
takes you on a journey to lost cultures, but also into yourself. The voice
of Sílvia Pérez Cruz with her dark timbre, earthy, with
a melancholic undertone in each note, seems almost like a second instrument.
The Spanish or African influenced songs, alternating with instrumental
tracks, draw from jazz, traditional folk and classical music. This apparently
random mating develops into a powerful dream team to create a new listening
experience. My discovery of the year!
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Anthony
Wilson Nonet - Power of Nine
Groove Note GRV 1035-1 Reviewed by DDD
I first heard part of this album less than an hour after hearing the Wilson
Nonet perform live at the Stereophile Show in Los Angeles. Wilson sat
in front of me and producers Ying Tan and Joe Harley sat to my right,
so it sounded in some ways like the group was right there in the room
with me. Or maybe it was the Titan cartridge and Lyra Connoisseur phono
and line stages. Wilson came to wide public attention playing guitar for
Diana Krall, and she repays him by singing one cut on this album. He is
also the son of bandleader Gerald Wilson, and his father’s genes
show through here – this is an arranger’s album, filled with
parts of three suites composed and arranged by Wilson. No mere accompanist
(despite backing Madeleine Peyroux as well as Krall), he plays superbly
on two vintage Gibsons and a John Monteleone custom Radio Flyer guitar.
His playing and that of his group is top notch. The five horn frontline
gives this an orchestral feeling, and Wilson’s guitar is mixed in
well with the group rather than demanding front and center stage. The
package comes with one full album cut at 33 1/3 rpm, with a second LP
cut at 45 rpm. Only one cut, ‘Looking Back’ with Diana Krall,
is duplicated at both speeds. Another successful original recording from
Groove Note.
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Graham
Coxon - Love Travels At Illegal Speeds
Parlophone 354 1342 Reviewed by MC
Graham’s last album Happiness in Magazines marked a turning point
in his career post-Blur. The album was crammed full of songs that could
easily have been on any of Blur’s previous albums, but rendered
with a rawness that the band never really achieved. This was the sound
of Graham Coxon leaving behind wilfully obscure punk concepts and embracing
popular music. With this new release Graham seems to go even further down
this road, with mixed results. Whereas Happiness… sounded like an
artist excited to be free of his (admittedly self-imposed) restraints
Love Travels… sounds like someone trying to work out what to do
with his new freedom. Perhaps I’m being a bit too harsh, because
in truth I love this record anyway, despite its shortcomings, but there’s
just something slightly disappointing in it all. It’s true that
about half the tracks are instant classics, bursting with energy or emotion,
recorded without compromise and ready to be unleashed on the charts. But
then between these tracks, whereas before there might have been something
savage and unexpected, there now seems to be something indifferent and
insipid. Don’t let that put you off buying Love Travels At Illegal
Speeds as this is still a great album, with material that can compete
with the best of the best. It’s just that this record seems to be
treading water when it could be pushing forward. |
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Karine
Polwart - Scribbled In Chalk
Spitfire Records SPIT028 Reviewed by AH
It's very difficult to put a label on Karine Polwart's music; she's a
little bit folk, slightly alt-country, occasionally indie and sometimes
dips a toe in pop. As a songwriter she doesn't follow any articular style
of writing, and as a lyricist and observer of what goes on around her
she's second to none. The contents of her songs can be deceptively harrowing
too. `Maybe There's A Road' deals with sex trafficking and contains lines
like "I'd rather not say why I couldn't stay home, now I get paid
never to be alone". In Karine's world light and dark collide with
one another, as documented by `Daisy' which, if I'm reading it correctly,
is about sexual abuse: "hey Daisy darling, don't spread your arms
so wide.. . there are people in this world who don't think like you do".
The band is essentially made up of acoustic and electric guitars, bass,
drums and piano, but it's fleshed out with moogs, melodicas, glockenspiels
and loop stations, and by a String Quartet known as Mr. Mcfall's Chamber.
Traces of Kate Rusby, Joni Mitchell, Mary Chapin Carpenter and Joan Baez
abound, although to call Polwart a copyist is to do her a serious disservice.
She says she's really humbled by the stories people tell her about their
lives. Equally, we should be grateful to her for the beautiful songs she
gives us back.
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John
Fahey - The Yellow Princess
Comet Italy/Vanguard Reviewed by JK
I should declare my hand before giving an opinion on this album; I believe
John Fahey to have been the greatest acoustic guitar player ever recorded.
But I’ll try to be as fair as I can with this review of what is
considered by many to be his finest work.
Recorded in 1967 this was the first Fahey album to reveal his technical
mastery of the instrument and the breadth of his compositional brilliance.
He combined the blues style of figures like Skip James and Bukka White
with both western and Indian classical influences to produce a sound that
has never been equalled in its power or diversity.
It seems appropriate to compare him with the likes of John Coltrane and
Keith Jarrett because of his inventiveness and ability to take you to
places previously undiscovered. This is at its most apparent on tracks
like ‘Irish Setter’ where his weighting of notes and the dynamic
contrasts produced have a tremendous poignancy that elicits both sadness
and joy.
Unfortunately this pressing sounds as if its source is an original but
occasionally rough vinyl LP! This affects some tracks more than others
and for the most part the sound is vibrant and resolute. But hey, think
of it this way – there is no other way of getting this on vinyl
at a sensible price, and get it you should.
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Hundred
Reasons - kill your own
V2 Music VVR1036412 Reviewed by MC
Hundred Reasons just keep on getting better. Kill you own sticks to their
tried and trusted formula but adds just enough to keep the sound fresh
and exciting. This album, their third, manages to be their most coherent
and most powerful yet. The sound is driven by the rhythm section which
provides a massive slab of sound on which they base their music. The bass
and rhythm guitars provide the dynamic and depth that lend Hundred Reasons
their power. But what elevates the band above their peers are their melodies
or, more accurately, that they have melodies. Kill you own is built on
a foundation of strong, and at times surprisingly soulful, songs. In order
to keep these tunes intact in the midst of a storm of guitars the band
have to keep the production tight and the vocals flexible, something they
achieve with apparent ease. Those vocals flick between harsh screams and
fragile whispers in the blink of an eye, sometimes frail and alone, sometimes
backed by close harmonies. Where other bands condemn their songs with
clumsy execution, Hundred Reasons lift off just enough to keep it all
a cut above the average rock band.
Kill your own steps toward capturing the band in a more relaxed way and
gets closer to their live sound. The product of a more organic writing
process, this record sounds more natural than their previous two and is
all the better for it.
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Marianne
Faithfull - Before The Poison
Naïve 800161 Reviewed by DD
The majority of the compositions on this ten song album are split between
P.J.Harvey and Nick Cave, although Damon Albarn chips in on one number,
‘Last Song’. Faithfull contributes lyrics to seven of the
numbers. Both P.J. Harvey and Nick Cave also featured in the recording.
No wonder then that this is an outstanding album. A million miles of course
from Faithfull’s breathy 1960’s debut, shunted firmly aside
by 1979’s Broken English, the first album to feature her mature,
somewhat raddled but emotion packed voice. Here she demonstrates that
she’s developed further still, and has delivered an album that easily
stands up alongside that classic. Nor could she have chosen better collaborators.
Harvey’s deceptively simple guitar and Rob Ellis’ powerful
percussion are the perfect foil for Faithfull’s voice in the opening
‘The Mystery of Love’. ‘My Friends Have’ comes
on like a contemporary Velvet Underground, ‘Crazy Love’ with
Nick Cave, eases back a little with Faithfull declaiming the lyrics against
a richer backdrop including some great violin from Catherine Browning.
Other standouts include the powerful title track, the chilling ‘There
Is a Ghost’, and the over the top Cave/Faithfull ‘Desperanto’.
With a nice pressing and good clean production this is an album that’ll
repay repeated listening. Oh, and play it loud.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186 |
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James
Hunter - People Gonna Talk
Rounder Records 116612187-2 Reviewed by AH
Let's get one thing straight right from the start, James Hunter is an
amazing singer. Not a good singer, but a flat-out amazing one. What's
even more amazing is with the voice he has you expect him to be black
and American. He's actually white and comes from Colchester, which makes
what comes out of his mouth when he sings very hard to believe. You see,
this man is a dead ringer for Sam Cooke and he writes songs that sound
like they came from the late 50's and 60's. So authentic are they that
if one were to play a Sam Cooke song on the radio and immediately follow
it with one of Hunter's, it would be very difficult to spot the difference.
People Gonna Talk contains 14 songs, all of them Hunter originals. The
recording process was conducted without headphones and very much `live'
in the studio using analog equipment, thus further emulating the feel
of those early recordings. The groove Hunter and his band cook up is incredibly
infectious and capable of filling a dance floor in seconds. The sound
is punctuated by razor sharp horns which add just the right amount of
bump and pump in all the right places and oh boy, do they swing as a unit!
America has taken Hunter to their hearts, and it's not difficult to understand
why.
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Jazz
Music |
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George
Cables Trio - A Letter to Dexter
Kind of Blue 10006 Reviewed by DD
The sleeve notes open with this quote from George Cables: "To me
Dexter Gordon didn’t just play jazz, he was Jazz…the years
I spent playing with Dexter are some of the most rewarding moments in
my life. This CD is a thank-you note to Dexter for sharing his stories,
his talents, his music and his Dexterness with us." The CD sees two
other members of Dexter’s bands joining forces with Cables (piano):
Rufus Reid (bass) and Victor Lewis (drums). It comprises a strong selection
of Dexter Gordon originals along with tunes he regularly played including
‘Catalonian Nights’, an arrangement of ‘Body and Soul’
and ‘I Told You So’ written by Cables and named by Gordon.
Cables’ love for this music comes across in every note of this very
enjoyable set. Standouts include a languid ‘Polka Dots and Moonbeams’,
a lively reading of ‘Fried Bananas’ and the closing number,
the classic Monk tune ‘Round About Midnight’ a reminder perhaps
of Dexter Gordon’s Oscar nominated role in the film of the same
title, in an interpretation that cleverly echoes elements of Monk’s
unique style within Cables’ masterful interpretation.
Very well recorded – the piano centre stage and foreground with
Reid’s bass to the left and Lewis’ drums to the right, is
unusually well captured – and a very fitting tribute to the great
man.
Supplier: www.kindofbluerecords.com |
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The
Classical Jazz Quartet - Play Rachmaninov
Kind of Blue KOB10004 Reviewed by DD
Despite the quality of the musicians involved here (few would argue with
the standing of Kenny Barron, Ron Carter, Stefon Harris and Lewis Nash)
I confess to a sinking feeling when I saw the title of this album. The
marriage of classical music and jazz is rarely a comfortable fit and shades
of Jacques Loussier and panatela cigars came to mind.
I needn’t have worried though as this is a classy affair indeed.
Arranged by Bob Belden this CD in nine movements based upon Rachmaninov’s
Piano Concerto #2 in C Minor, allows proper space for these top players,
each of whom incidentally has some background in classical music, to take
wing. The opening movement sees the quartet kick off with the familiar
theme hammered out by Harris’ marimba. For a moment it feels like
this is going to be all too slavish a reproduction but immediately Barron
and the rest are away, using the theme as a springboard for some superb
flights of improvisation. Throughout you get reminders of the core work
but this is merely the match to the band’s fuse, resulting in some
startlingly effective musical fireworks. This CD is the first of three
that will be released by the quartet this year. The next releases will
cover works by Tchaikovsky and Bach.
On the evidence of this very strong set I’m looking forward to their
arrival.
Supplier: www.kindofbluerecords.com |
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Madeleine
Peyroux - Careless Love
Mobile Fidelity MFSL 1-284 Reviewed by DD
Vocalist Peyroux is sometimes compared to Billie Holiday as a jazz singer
who sings more blues than jazz. This album seems more a nightclub infused
pop album, and is perhaps not Peyroux’s best. The mix of tunes is
eclectic, included Leonard Cohen, Bob Dylan, William C. Handy and Hank
Williams.
She is backed by a jazz ensemble, which is well recorded, and in far better
sound than the original compact disc. Is she "Everywoman" in
this mix of cowboy, blues, rock and chanteuse tunes? I’ll leave
that to you, as she does bring her own sense of feeling to this wide range
of styles. Still, she is more successful with some songs than others.
‘Dance Me to The End Of Love’ makes me yearn for an entire
album of Peyroux singing Leonard Cohen tunes, whereas her rendition of
William C. Handy’s ‘Careless Love’ makes me wonder how
good the song would sound with Louis Armstrong. On first hearing, her
rendition of Dylan’s ‘You’re Gonna Make Me Lonesome
When You Go’ seems sacrilegious, but on the second or third listen
it fits better with the flow of the album. Peyroux shares writing credit
on one song, ‘Don’t Wait Too Long’, and it’s one
of the best performances on the album. The disc is half-speed mastered
by Stan Ricker and Shawn Britton, and it’s a first class job all
the way, easily bettering the CD. |
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Alboran
Trio - Meltemi
ACT 9448-2 Reviewed by DD
Alboran is a term for the entrance to the Mediterranean – the Straits
of Gibraltar - the waterway that joins the European and African continents.
The Alboran Trio was founded in 2003 by Paola Paliaga (piano), Dino Contenti
(bass), and Gigi Biolcati (drums). Despite very varied and different backgrounds
and distinctly individual approaches to their art, the trio shared a love
of acoustic music and a desire to work together, seeking a new take on
jazz which would blend each player’s strengths, their European and
African influences, to create a greater whole.
On the evidence of this set I’d say that they have succeeded admirably.
The album is built around a batch of original compositions by Paliaga
(with the exception of the closing ‘Pinocchio’), and arranged
by the trio. All are superbly played with good space for solos from each
and no single musician unduly dominant. Whilst it is a very consistent
set, favourite tracks include the lovely ‘Cinque Lunghissimi Minuti’
with a particularly fluid bass solo from Contenti, and the outstanding
‘Duende’ with a powerful foundation of rolling percussion
providing a platform for the soaring tones of the bowed bass. This is
a really engaging set: tuneful, fresh, expertly played and well recorded.
Supplier: www.actmusic.com |
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Nguyen
Le, Paolo Fresu, Dhafer Youssef - Homescape
ACT 9444-2 CD Reviewed by DD
Self taught guitarist Nguyen Le has collaborated with the likes of John
McLaughlin, Michel Petrucianni and Ornette Coleman. Most of this set was
recorded with either Sardinian Paolo Fresu (trumpet, flugel-horn and electronics)
or Dhafer Youssef (oud, vocals and electronics. When collaborating with
Fresu each piece is entirely improvised with no composed material –
a blank canvas – with the occasional exception such as their superb
interpretation of Billy Strayhorn’s ‘Chelsea Bridge’.
With Dhafer Youssef, things were a little more structured, with the pair
collaborating in the development of each piece. Either way, one thing
is clear from the get-go; Nguyen Le is a very inventive and skilled player,
a master of his instrument with a keen ear for different textures and
effects. The opening ‘Stranieri’ comes on initially like a
Nils Petter Molvaer track: phased muted trumpet, pounding percussion,
electronic effects, before Nguyen kicks in with a fractured guitar solo.
The second track ‘Bianca’ changes direction again opening
with acoustic guitar overlying a rich bed of percussion leading into wordless
multi-tracked vocal choruses as the backing becomes increasingly rich.
And so it goes throughout this very strong album: There are enough layers
here to keep you engaged and hearing different nuances for months to come
with every track delivering a fresh and unusual perspective.
Supplier: www.actmusic.com |
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Vito
Rezza and 5 after 4 - Drums of Avila
Alma Records ACD14302 Reviewed by DDDrummer
Vito Rezza has recorded with the likes of Joni Mitchell, John Lee Hooker
and Big Mama Thornton. He has assembled a stellar cast to contribute to
this release, including Michael Brecker, Toots Thielemans and Joey DeFrancesco.
The lyrical title track sees Rezza joined by fellow percussionist Vinnie
Colaiuta with solid bass support from Peter Cardinali providing the foundation
for some soaring sax, flute and bass clarinet from John Johnson to provide
a really engaging opener. The frenetically paced ‘Manhattan Bounce’
provides a rapid change of gear with the two drummers driving things ahead
to provide an explosive backdrop for Brecker’s tenor pyrotechnics.
The pace slows again with ‘Vichnu’s Dream’ featuring
the wonderful Toots Theilemans and a very nice Hammond B3 solo from Joey
DeFrancesco. The 12/8 rhythm of ‘Torontella’ is given texture
and atmosphere by the Bob Becker’s Kalimba and percussion and so
it goes through this very strong set. ‘In Dreams’ sees vocals
from Benani Choudhury offset by the Bratislava Radio Symphony Orchestra
(really), along with Toots’ harmonica and the Fender Rhodes and
piano of Jonathan Goldsmith.
The CD closes with the Keith Jarrett inspired ‘Number Nine’
with very fine piano from Matt Horner.
A solid, weighty and spacious recording does full justice to the outstanding
musicianship in this excellent set.
Supplier: www.AlmaRecords.com |
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