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Pop
and Contemporary Music |
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Bert
Jansch - The Black Swan
Drag City Reviewed by PD
There’s no flash at all here from the exceptionally accomplished
guitarist and songwriter Bert Jansch. He has a voice of limited range
and dynamics. His traditional acoustic guitar style avoids ornamentation
like the plague. But these instruments are all he needs. Time and again
on The Black Swan, Jansch quietly cuts to the heart of the song and reveals
the music there.
Jansch’s original songs demonstrate strength as quiet and deep as
his instrumental technique. The traditional pieces ring true and sound
fresh. The limited complementary instrumentation is nicely judged and
always acoustic – banjo and bottleneck guitar here and there, and
a very effective cello on the title track. The best addition of all is
the appearance of Beth Orton as a vocalist on three tracks. Orton’s
pure tone and cool manner fits like a glove. The sonics here are all that
might be hoped for on a compact disc featuring acoustic musicians of this
calibre – with one quibble. Judging from the depiction of his guitar
in the soundstage, for these sessions Jansch traded the lovely, thin-bodied
Martin depicted in the booklet for an instrument that certainly sounds
nice but also appears to be about six feet wide. That takes a little getting
used to. But you will. Don’t miss this superb album. |
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Aynsley
Lister - Upside Down
Ruf Records RUF1124 Reviewed by AH
After a brief sojourn with Ian Parker and Erja Lytinnen under the moniker
of Pilgrimage, Aynsley Lister is back with his latest solo offering Upside
Down, 12 cuts of (mostly) fret burning, head turning blues rock. Lister’s
been honing his chops on the live circuit for a fair few years, and anyone
fortunate to catch him in his natural habitat will attest to the raw power
and presence of this immensely talented performer. He’s no slouch
in the studio either, and this time around decided to put himself in the
producer’s chair as well as play guitar, sing and write the songs.
Upside Down marks the return of original drummer Alex Thomas, a real powerhouse
who along with bassist Jo Nichols provides the platform for Aynsley to
launch his incendiary lead and rhythm work from.
What Lister’s all about is summed up in the six and a half minute
‘With Me Tonight’; it kicks in on a throbbing bass line and
proceeds to ebb and flow with some scintillating power chords and three
or four remarkably inventive solos, and it’s sure to become a live
favourite. As will the driving ’In The Morning’, a pacey number
with plenty of menacing slide. Upside Down is a cracker and can only help
to fuel Lister’s burgeoning reputation as one of the UK’s
finest guitarists.
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The Cinematic
Orchestra - Ma Fleur
Ninja Tune Reviewed by JK
It has been a long wait for the Cinematic Orchestra’s third studio
album, five years in fact, so I was intrigued to hear the direction that
Jason Swinscoe had taken his band over that period. The opening track
‘To Build A Home’ throws something of a curve ball, the fragile
voice of Patrick Watson singing about life and death gives the impression
that TCO has changed course altogether. Clearly Swinscoe’s move
from Paris to New York over the last few years has opened his ears to
new approaches and deeper emotional waters. But after Watson’s intro
the appearance of TCO favourite Fontella Bass brings a note of familiarity
to proceedings. With a voice reminiscent of Nina Simone she delivers a
depth of feeling that is rare in contemporary music. Lou Rhodes joins
Watson on ‘Music Box’, which has a beautiful acoustic guitar
backing, the pair producing a softness and warmth to the sound that is
enchanting.
Swinscoe uses a broad range of often acoustic instruments including strings,
bass clarinets and cohort Phil France’s double bass to superb effect.
The recording ain’t audiophile but it’s strong on timbre,
contrast and energy. The music on the other hand is strong on emotional
communication and great grooves. While not as upbeat as earlier TCO albums
Ma Fleur is powerful and evocative stuff.
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Eric
Gales - The Psychedelic Underground
Provogue Records PRD7223.2 Reviewed by AH
Eric Gales is presumably sick of the comparisons to Jimi Hendrix but there’s
no doubting the great man’s spirit looms large over his music, and
it doesn’t help that Gale’s himself is a left-hander who plays
the guitar upside down! One of four brothers, two of whom also learned
to play the same way, Gales has fashioned a niche for himself in psychedelic
blues rock. The world stood up and took notice when he unleashed his first
record at the tender age of 16, which earned him a ‘best new talent’
award in Guitar World’s reader’s poll.
The Psychedelic Underground follows hard on the heels of last year’s
critically acclaimed Crystal Vision, and it’s a continuation of
that album’s combination of dazzling fretwork and tough, rock-drenched
blues songs. If your take on the blues is relaxed country picking played
on a back porch with the crickets singing, keep well
away from this. Gales plays with the ferocity of a man possessed, peeling
off solos with frightening intensity while he takes the three-piece configuration
right to its outer edges. It’s bone crunching stuff and a guitar
fan’s wet dream, and definitely not for the faint-hearted. The legions
of Joe Satriani, Steve Vai and Jimi Hendrix fans will lap it up but it
has enough about it to appeal to the Stevie Ray/Joe Bonamassa brigade
too.
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Yes -
Fragile
Atlantic/Mobile Fidelity Reviewed by JK
Media pundits of a certain ilk, those that get onto BBC radio and TV for
instance, seem unduly keen to put down progressive rock and virtuoso musicianship
in general. Punk pretty well blew such styles out of the popular consciousness
a long time ago. But they should nonetheless be concerned because sooner
or later enough people will get to hear albums like Fragile and realise
what a travesty it was that such high standards of playing and composing
were forced underground.
Fragile is perhaps the definitive prog album. It was made by highly talented
musicians at the peak of their powers and while it doesn’t really
fall into the concept album genre it comes from the band that virtually
invented it. It also includes solo tracks from each of the band members,
of which the least said the better, except Steve Howe’s ‘Mood
For A Day’ which is a fine bit of picking. The MOFI Ultradisc II
pressing is hint hard edged but extremely well defined. It pulls out all
the elements of each piece so that they can be easily followed but keeps
the overall musical flow intact.
I still prefer the Rhino DVD-A which like the vinyl is a bit more relaxed
and open but for a CD this is damn revealing. Oh, and Analogue Productions
offer it on 180g vinyl too, if that’s your thing.
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Otis Taylor
- Definition Of A Circle
Telarc Records : CD83659 Reviewed by AH
Otis Taylor has to be one of the most prolific bluesmen working today.
He’s released eight albums including this one since 1995, and every
one is worthy of your collection. Even if you aren’t into the blues
you’ll find something to cherish in all of his recordings. We’re
not dealing with a typical bluesman anyway; Taylor has an inventive way
of presenting his take on it, something he calls ‘trance blues’.
It involves the weaving of repetitive, hypnotic riffs - often banjo led
- over some of the hardest hitting lyrics you’ll fi nd anywhere.
For this album Taylor’s enlisted the help of some very influential
friends, including world renowned trumpeter Ron Mills, harpist Charlie
Musselwhite and legendary Irish guitarist Gary Moore. Moore’s contribution
is revelatory; his punchy fi lls on opener ’Little Betty’
are some of the tastiest to fl y off his fretboard for many years.
Moore also services ‘Looking Over Your Fence’ with a downright
menacing walking guitar as Taylor spits out the lyrics to a song about
a threatening neighbour. It fades out with the words “maybe we’ll
go to war…” and one can’t help thinking he didn’t
make it up! Taylor’s filling the hole left by the sorely-missed
John Lee Hooker and will one day be talked of in the same reverential
circles.
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In The
Country - Losing Stones, Collecting Bones
Rune Grammofon Reviewed by JK
The second album from Norwegian trio In The Country follows a similar
pattern to their first, with piano, double bass and drums/percussion starting
things off slow and simple and building them up into a squall or, occasionally,
a storm of engulfing sound before taking the vibe back down again. The
main driving force behind ITC is Morten Qvenlid who is something of a
one man musical maelstrom, working with Susanna & The Magical Orchestra
and numerous other Norwegian bands when not playing keyboards of many
varieties with his own band. Morten seems to enjoy producing music of
varying tempo and intensity, this album explores the full dynamic and
tonal range albeit with not a great deal of high frequency activity. Unlike
ITC’s first outing Losing Stones brings in vocals from Stefan Sundström
and guitar from alt rocker and Tom Waits collaborator Marc Ribot, this
allows for a greater range of expression and some scorching fretboard
work from Ribot on the track ‘Torch Fishing’ in particular.
Losing Stones is a rounder, more fleshed out album than its predecessor.
There’s still some Scandinavian
cool but interspersed with hot coals of musical delight.
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Eddi
Reader - Peacetime
Rough Trade RTRADCD233 Reviewed by AH
My first brush with Eddi Reader came a long time ago when I saw her fronting
Fairground Attraction in Southampton. ‘Perfect’ was all over
the airwaves, a happy, jaunty little pop song that record buyers everywhere
took to their hearts. It made the young Eddi an overnight chart sensation.
When Fairground Attraction split up Reader pursued a solo career and released
some very fi ne albums, none better than Mirmamma and Angels And Electricity.
She has always had a close working relationship with ex-Bible frontman
Boo Hewerdine and that association continues to flourish here. He contributes
two songs and a co-write and plays acoustic and electric guitar throughout.
His ‘Muddy Water’ is a beautifully constructed piece which
in her hands becomes a miniscule work of art.
Eddi’s last album was a tribute to Robert Burns and she’s
decided to include three more of his compositions here. The purity in
her voice and the trace of a Scots accent add weight and authenticity
to these ancient works, but the real ace-in-the-hole on Peacetime is a
Trashcan Sinatras song called ‘Prisons’. Reader calls it a
forgiveness prayer, and heaven knows we could use plenty more of those.
Eddi Reader’s her own woman and Peacetime’s a reflection of
an artist in touch with her roots, and that in turn has produced a charming
album. |
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The Damnwells
- Air Stereo
Zoe Records 01143-1104-2 Reviewed by AH
Any band worth their salt need a good frontman and in Alex Dezen, The
Damnwells have the best one to come along in quite some time.
Pitched somewhere between Cheap Trick, The Replacements, Tom Petty and
Soul Asylum, The Damnwells hammer out their own particular brand of fireball
power pop with a verve and a freshness that should catapult them into
the hearts and minds of music lovers everywhere. Air Stereo follows on
from their critically acclaimed debut Bastards Of The Beat and literally
drips from beginning to end with wickedly catchy melodies and harmony-laden
hooks. Dezen’s lyrics are razor sharp but the rest of the band aren’t
just there to make up the numbers; they dress his clever songs in a wash
of colourful sounds. The strangely titled ‘Kung Fu Grip Kiss’
offers up some of Dezen’s most affecting lyrics: “forgive
me baby, I am so full of hearts / swelled up with sadness and broken in
parts” he sings, before confessing later in the song that: “I
will always be your prisoner from his burning cell / I’m with you
baby, rain or shine, heaven or hell.” It really is stirring stuff,
and there’s plenty more where that came from. This band have massive
potential and I’d really love to see them live, but until then I’ll
just immerse myself in their fabulous record. |
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Lucinda
Williams - West
Lost Highway B0006938-02 Reviewed by PD
This album has an iconic cover photograph by the great photographer Annie
Leibovitz. West’s producer, Hal Willner, has an extraordinary reputation
for working on records of the highest artistic and sonic quality. The
studio band is also beyond reproach – guitarist Doug Pettibone,
bassist Tony Garnier (of Bob Dylan’s band), the great Jim Keltner
on drums and as a second (!) guitarist, Bill Frisell. So is the result
all it should be? Yes it is. Lucinda Williams has written these songs
from the bottom of her heart. They are rendered with a lyrical craft and
musical resonance appropriate to an artist who has for 30 (or more) years
been ascending slowly and steadily to the pinnacle of her art. This record
is about devastating break-ups, parents dying, and the emergence of hope.
There isn’t a bad track here. It has been reported that Williams
used demo vocal recordings on the final recording because of their emotional
authenticity, regardless of flaws. Whether that is correct or not, the
soul is here in spades. The CD of West is very good, but the vinyl issue
is exemplary.
My copy, bought from a retail rack, is superbly pressed. The tracks have
a little bit of leakage between the various artists, but it sounds like
real musicians playing in a real room. Magnificent.
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Julian
Sas - Resurrection
Provogue Records PRD7214.2 Reviewed by AH
As a youngster Julian Sas listened to Iron Maiden, AC/DC, Motorhead and
Judas Priest but his world was turned on its head when he acquired a copy
of Hendrix’ Are You Experienced. That led him to Muddy Waters, a
pivotal moment for this self-confessed ‘lost soul’ who knew
then that he was to dedicate his life to blues-rock. Sas taught himself
guitar, immersed his ears and heart in the works of the greats and formed
a succession of bands, becoming the premier exponent of Dutch blues rock.
With his talent on guitar and knowledge of the blues Sas could make a
handsome living churning out covers, but he chooses to write his own material.
The 12 originals on Resurrection are beefy, hard-hitting songs about loneliness,
oppression and his obvious delight in being on the road. Wearing his influences
proudly on his sleeve, Sas pays serious homage to the likes of Rory Gallagher,
Alvin Lee, Peter Green and Jeff Beck, and whilst technically not a great
singer his voice, a curious blend of Jimi, Rory and Lou Reed, does harmonize
perfectly with the rich, fat tones he coaxes from his instrument. Sas
also had his world rocked by a Rory Gallagher gig. Wherever the great
man is now, I’m sure he’d approve of Resurrection. |
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Patti
Griffin - Children Running Through
ATO Records Reviewed by AH
“Some of the most beautiful music I’ve ever heard is when
you catch somebody singing to themselves. I wanted to make music that
had that feeling.” So said Patti Griffin when asked how she wanted
her new record to sound. Pleasing to report, then, that she managed to
nail that ‘feeling’ perfectly on Children Running Through.
What I like about Patti Griffin is that she always wants to stretch out
and evolve, both as a writer and a singer. You can’t lump her into
any category, and just when you think you understand where she’s
going, she hops back on the train and gets off at the next station.
Children Running Through is a canvas of many colours; there’s the
sublime balladry of ‘Trapeze’, where Patti and Emmylou Harris
hand out a master class in harmonizing; then there’s the pumped
up, wild acoustic thrashing of ’Getting Ready’, replete with
a really ‘out there’ piece of electric guitar playing, courtesy
of Doug Lango. That‘s followed by a couple of beautiful, stirring
tunes before Patti returns to the rocking edge with the epic ‘No
Bad News‘, a slow-burner that builds and builds on a sea of mandolins,
acoustics and trumpet before exploding to its magnificent conclusion.
This is the album she always threatened to make, the career
highlight that should catapult her to international superstardom.
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Sean
Noonan Brewed by Noon - Stories to Tell
Songlines Reviewed by JK
Sean Noonan describes his Brewed by Noon work as “tribal rhythms
by an Irish griot” which while colourful doesn’t tell you
a great deal about the sound the band produces. With eleven musicians
from around the world Stories To Tell involves a broad mix of styles but
one that manages to remain focused and cohesive under the direction of
drummer Noonan, a man who clearly enjoys his jazz rhythms but who also
knows a good groove when he hears one. When not joined by vocalists they
sound like natural successors to great jazz rock fusionists the Mahavishnu
Orchestra, this effect being enhanced when guitar player Marc Ribot lets
rip. When the voice of Abdoulaye Diabaté joins in the mix gets
denser and can seem crowded at times, something that the surround mix
helps to overcome. Irish singer Susan McKeown brings a different flavour
when paired with Mat Maneri on viola, which can stray into atonality but
is never less than texturally rich and varied. For my money this band
works best with instruments alone, in particular when the musicians aren’t
competing but playing gently or taking turns at soloing.
The resulting sound varies between intensity and beauty and delves far
and wide without losing site of the tune. Fascinating music that’s
well recorded, a rare combination.
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Marc
Ford - Weary And Wired
Provogue Records PRD7224.2 Reviewed by AH
Back in the good old days I remember being hugely impressed by a little
band called Burning Tree. They were a psychedelic three piece led by one
Marc Ford and they were really rather good, but alas, like so many bands
before and since, they slipped off the radar and plunged into obscurity.
However, fortune shines on the brave and lead singer and guitarist Marc
Ford found himself courted by none other than the Black Crowes.
His stunning lead work is all over what is widely regarded as The Crowe’s
best album, Southern Harmony And Musical Companion, and he went on to
feature on Amorica, Two Snakes And One Charm and two unreleased recordings.
When he left The Crowes he formed Mark Ford And The Snakes who, with the
help of Lucinda Williams got offered a contract with Lost Highway, only
to lose it again when legal wrangles got in the way. Now he’s back
with a new album, the original members of Burning Tree, and they’ve
produced an absolute belter. What does it sound like? Well, take a large
dollop of Cream, whisk in a little Free, Led Zeppelin and Black Crowes
and garnish with oodles of tasty guitar on the side and that should give
you a good idea of what’s on offer. Unashamedly retro, but very,
very good.
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Jazz
Music |
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Rosemary
Clooney - The Reprise Years
Rhino/ Warner Jazz (CD) 8122748762 Reviewed by DD
Best known for her novelty hits of the 1950’s such as ‘Come
On-A My House’, Rosemary Clooney’s background was nevertheless
rooted in jazz and the songs of the great American songbook. In 1961 she
recorded an album Rosie Solves the Swingin’ Riddle for RCA which
was subsequently shelved only to be released in 1963 and re-titled Love
when her friend Frank Sinatra had signed her to Reprise and bought the
master. Nelson Riddle with whom Clooney was passionately in love at the
time, wrote some of his very best arrangements for this album, which is
combined here with its 1964 follow up Thanks for Nothing with arrangements
by Bob Thompson.
Despite the quality of the music neither album set the charts on fire
and Clooney subsequently left Reprise. She is at her best when more poignant
and telling. Given her doomed relationship with Riddle, songs such as
‘The Man That Got Away’ and ‘Thanks for Nothing’
have really heartfelt emotion spilling out to telling effect. The first
album has gorgeous arrangements from Riddle, but the second album’s
songs of doomed relationships bring the best performances from Clooney.
All in all the album is a bit of a revelation and all the sadder in that
Clooney never really got the chance to follow these fine performances
with more of the classic songs she clearly loved. |
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Barbara
Thompson’s Paraphernalia - Never Say Goodbye
Intuition INT34052 Reviewed by DD
This album is the first Paraphernalia album recorded since 2001 when Barbara
Thompson retired from touring having been diagnosed with Parkinson’s
Disease. Thankfully due to new medication Barbara has been able to bring
that early retirement to an end. Thus the album’s title. The CD
opens with ‘Living in the Fast Lane’ a ‘concerto in
3 movements’ the first of which throws me every time since it recalls
(unintentionally I’m sure), parts of the Starsky & Hutch theme
tune.
Fortunately these thoughts are effectively banished by ‘Still Waters’
the second number. This features some great electric bass work and piano
and provides a lyrical sandwich filling for the two more frenetic numbers
that encase it. The title number (subtitled ‘The Tango That Got
Away’), is one of my favourites of the set. With an insistent bass
line from Dave Ball, and suitably exotic improvised vocals from Ana Gracey
coupled with precise work from the horns, it’s cinematic and great
fun.
Coltrane’s classic ‘Giant Steps’ gets a sprightly if
lightweight reading with fluid sax from Thompson and Jon Hiseman’s
drums powering things along. ‘Finger Dancing’ gives Thompson
a chance to stretch out with typically ornamental and lyrical sax intertwining
delightfully with Billy Thompson’s violin in perhaps the strongest
number here. |
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Nicolas
Meier - Yuz
naim cd103 (CD) Reviewed by DD
This release sees the band pared back to the core members of Meier (guitars,
Turkish saz), Gilad Atzmon (clarinets, soprano sax), Tom Mason (bass),
and Asaf Sirkis (drums), yet the range of sound and expression that these
four conjure from their instruments belies the small size of the band.
Having caught the band live during their tour I can confirm that this
release, whilst not as powerful as the live experience, gives a pretty
good impression of their skills. Sirkis is a phenomenally gifted and highly
inventive percussionist, Atzmon a hugely creative and powerful player,
Mason a solid force amidst the pyrotechnics, and Meier a master of his
chosen instruments able to pull out sinuous and melodic lines that hold
the multi-textured sounds together.
Like their earlier release there’s a real continuity from number
to number and a quality of music making throughout that makes it difficult
to single out any one track for particular praise. Like its predecessor
this is a recording that will reward repeated playing, new subtleties
will come to light with each hearing. Coupled with a very decent recording
from naim, this’ll keep me very happy ‘til I get the next
chance to catch this fine band in concert.
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Buck
Clayton - How Hi the Fi - A Buck Clayton Jam Session
Pure Pleasure/ Columbia PPAN CL567 Reviewed by DD
The famous Buck Clayton jam sessions comprise two sets recorded in Columbia’s
great ‘30th Street Studios’ in 1953 and 1954 and were first
released later that year. These are truly spontaneous and joyful sessions
with Clayton leading terrific ensembles (there are some changes of band
members between the two recording dates), including the likes of Urbie
Green and Trummie Young (trombone), Al Cohn (tenor), Jimmy Jones (piano),
Jo Jones (drums), and in the 1954 recordings, Woody Herman (clarinet).
I’m sure you’ll already have spotted a few Basie alumni in
the mix.
The double album set opens with the two tunes recorded in 1954, for me
the most successful of the sessions. The title number is a real stormer
with the band racing through 22 (count ‘em) choruses in under 14
minutes, to terrific toe tapping effect. So much so that an original copy
supplied by RSF was demonstrated at the Manchester Show a few years back
as an example of mono’s continuing musical relevance! Side two sees
an extended take on the standard ‘Blue Moon’ and notably features
some fine tenor soloing from Cohn followed by a rasping treat of a solo
from Young. The number closes with some terrific ensemble work with Clayton
and Young to the fore.
The second album covers the 1953 sessions and here Freddie Green (guitar)
joins Walter Page (bass) and Jo Jones (drums) to re-create the original
Basie Band rhythm section, piano duties here being handled by ‘Sir’
Charles Thompson who clearly does a convincing job since even Basie’s
wife on first hearing the test pressing thought it was a Basie album.
Opening with an appropriately relaxed pace ‘Sentimental Journey’
is jammed with great solos and swings for every second of its 14 3/4 minutes.
The album closes with ‘Moten Swing’ originally developed for
the Bennie Moten Band and loosely based on the chords of ‘You’re
Driving me Crazy’. The rock-sold rhythm section really tells here,
driving the number ahead and providing a great platform for more superb
soloing particularly in this number from Clayton.
If you’re a Basie aficionado you’re going to love this record,
not simply because of its ex-Basie Band members but because like the best
of the Count’s music, it’s superbly played and swings like
hell. It’s a real bonus that this great, very well recorded music
has been so well served by Pure Pleasure, with exemplary Pallas pressings
and great packaging. This is one record (or should that be two) that everyone
should own.
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Herbie
Hancock - Takin’ Off
Cisco Music/Blue Note BST 84109 Reviewed by DDD
Takin’ Off was the first of seven titles Hancock released on Blue
Note, and while a couple of other titles may be a notch superior in terms
of invention, this is a fully formed classic album, featuring a Freddie
Hubbard, Dexter Gordon, Butch Warren and Billy Higgins. The band plays
all Hancock originals, including his Watermelon Man.” Sideman Gordon
had emerged with a couple of Blue Note LPs, and his classics Go and A
Swingin’ Affair were right around the corner. Similarly, Hubbard
was in the middle of his hot streak of Blue Note releases at the time,
so it is no exaggeration to call this a meeting of giants. Up until now,
the only audiophile record companies releasing the coveted Blue Note titles
have been Classic Records and Mosaic, so word of competition for this
honor is big news indeed. How have Cisco done? When I first heard the
LP, I was shocked at how much better the stereo sound was reproduced than
on most Blue Note releases. According to Cisco’s web site, they
cut the record with a “wider stereo image than the original release”
rather than folding in the stereo image to avoid “technical problems”
which now no longer exist because of advances in technology. Whatever
the explanation, this release sounds harmonically right and presents a
far better stereo sound-stage than one expects from Blue Note. More Please!
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