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Pop
and Contemporary Music |
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Tab
Benoit - Power Of The Pontchatrain
Telarc Records CD83654 Reviewed by AH
Like his label mate Jimmy Thackery, a guitarist he’s shared stage
and studio time with, Tab Benoit is a furiously inventive player who very
rarely makes a bad album. Being a Louisiana native Benoit incorporates
elements of Cajun and Zydeco in his music, but always at the forefront
is his smoky toned guitar sound.
Power Of The Pontchatrain finds him working with famed Louisiana combo
Leroux, a potent group of musicians who, like The Meters, manage to infuse
any recording with copious quantities of southern funky soulfulness. Benoit’s
also reeled in legendary producer David Z, whose list of credits include
Kenny Wayne Shepherd, Prince and Jonny Lang, and he’s given this
recording a real 70’s rock feel. As I listened, what came to mind
were those fabulous Doobie Brothers albums like Stampede and What Were
Once Vices… not so much for the music but the great vibes found
in their grooves. Benoit’s a great innovator, as he shows with a
sparkling cover of Stephen Stills’ ‘For What It’s Worth’,
replete with changed lyrics - a barbed swipe at the powers that be for
their lack of compassion towards Louisiana’s less fortunate natives.
Every time I hear a Benoit recording I always wonder how he’s going
to better it, but better it he has; in fact, I think he’s just gone
and made the best album of his career. |
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Candye
Kane - Guitar’d And Feathered
Ruf Records RUF1127 Reviewed by AH
For her new album Candye Kane has invited some of her favourite guitarists
along to help out. Their contributions alongside her touring band help
Guitar’d and Feathered romp along in fine, time honoured fashion,
with each guest stamping their own individual style and phrasing on the
thirteen tracks.
First up to swing his thing is Junior Watson and he brings a real party
atmosphere to ‘My Country Man’. Next in line is Dave Alvin,
and although not really an out and out bluesman his National Steel playing
is as authentic as it gets on the old time sounds of ‘Back With
My Old Friends’. Sue Foley shares duties with Muddy’s ex-guitarist
Bob Margolin on ‘When I Put The Blues On You’ and the pair
repeat the teaming on Guitar Slim’s ‘I Done Got Over It’.
Yugoslav Ana Popovic throws down typically smouldering lines and one of
the best performances on the sultry ‘I’m Lucky’ before
Margolin surfaces once more, this time with Popa Chubby, the two of them
rocking their little socks off on closer ‘Crazy Little Thing’.
Candye’s kept it in the family by including her two sons; Tommy
Yearsley II plays the Hammond B-3 and Evan Caleb hits the skins for all
he’s worth. Then there’s Candye: big in stature, huge voice,
talent in abundance and impossible to ignore. As always, she’s the
real star of the show.
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Erja
Lyytinen - Dreamland Blues
Ruf Records RUF1114 Reviewed by AH
It doesn’t matter what country we’re born in, as human beings
we’ll go wherever it takes us to find our spiritual home. When Erja
Lyytinen went to Mississippi with stablemates Aynsley Lister and Ian Parker
to cut the Pilgrimage album, the pull to go back and record again became
overwhelming and unquenchable.
She returned to cut this album and did it in four days using the same
musicians as the ones on Pilgrimage. One would imagine a young lady from
Finland not having much of an affinity with a bunch of hard core, down
south American musicians, but the results to be found here suggest otherwise.
Lyytinen’s often referred to as ‘the Bonnie Raitt of Finland’,
a tag that probably has more to do with the way she plays guitar (slide
heavy) than her singing voice. There is a trace of an accent but thankfully
it doesn’t detract too much, and her guitar work is a constant delight
throughout - the girl can play!
The speed with which this album was recorded has afforded it an organic
feel, and the lack of studio messing about means it sounds like all blues
records should sound - unforced and in the moment. Lyttinen’s also
pretty handy with the pen; apart from a cover of Elmore James’ ‘It
Hurts Me Too’ and a Parker original, the rest are all hers. Great
stuff. |
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Inneke
23 & The Lipstick Painters - Elephant Crossing
Corazong Records 255094 Reviewed by AH
It’s not every day I get to review an album by a Belgian band, especially
one with a lead singer who used to play bass in a garage rock outfit and
who was once a member of an all-girl punk band called Hari-Kiri!
Inneke 23, for it is she, is now fronting The Lipstick Painters, a cute
and quirky band specializing in americana, pop and folk. This is their
second album and has enough about it to suggest that the change in direction
was a smart move. Of the twelve songs, ten are penned by Ingrid Veerman
(Inneke’s real name) and the other two by Bob Dylan (‘Oh Sister’,
changed from the original title ‘Oh Brother’) and Inneke’s
favourite source of inspiration, Lucinda Williams (‘I Envy The Wind’).
Inneke’s own songs occasionally hint at the musical chameleon in
her, none more so than ‘Hate Song’. With tongue firmly in
her cheek she sings: “this must be the most stupid song you’ve
ever heard”, and if it wasn’t so damned catchy I might be
inclined to agree with her.
Points of reference are Lucinda Williams, Mary Gauthier, Loudon Wainwright
III, The Jayhawks and to a lesser extent, Jonathan Richman.
Richman gets a mention for the quirkiness factor running through this
record, not because she sounds like him.
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Jeff
Lang - Whatever Makes You Happy
No label, number or barcode!! Reviewed by AH
Australia provides rich pickings right across the musical spectrum. They’ve
got great rock bands like Powderfinger (check out lead singer Bernard
Fanning’s fantastic solo album), inventive blues artists (Harper
must be heard) and first class roots singers (Emily Barker’s a divine
talent). And, lest we forget, Australia gave us the greatest boogie band
the world has ever seen or heard in AC/DC.
Here we are with yet another gem, slide guitarist and lap steel player
extraordinaire, Jeff Lang. This guy’s racked up a pretty impressive
back catalogue that shows off his amazing virtuosity with six strings,
and his skills as a slide player come close to rivalling Ry Cooder for
sheer emotional intensity.
If you want to experience his gifts to the full buy a copy of Cedar Grove,
then sit back and marvel at what one man can coax from his instrument.
Alternatively, grab this new album which is chock full of cracking Americana,
earthy pop, country and blues with enough high energy guitar work to satisfy
the most demanding listener’s ears.
Honourable mention must also be given to Lang’s voice, the perfect
foil for his constantly inventive songs and playing. The weaving of his
and Suzannah Espie’s voices on the beautiful ‘By Face Not
Name’ evokes memories of Gram and Emmylou at their most heartfelt.
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Robb Johnson
& The Irregulars - All That Way For This
Irregular Records IRR066 Reviewed by AH
The great thing with music is you just don’t know when you’re
going to discover something new that pins your ears back and makes you
turn the TV off. I have to confess Robb Johnson’s a new name to
me, but I’m rather glad this record found its way into my psyche
because it’s a smashing listening experience.
Apparently he’s pretty sought after as a writer for others, and
not just in his chosen field of folk/rock. He’s even had songs covered
by acclaimed cabaret diva Barb Jung - how’s that for diversity!
Last year, Robb celebrated his 50th birthday with a live album, Saturday
Night At The Fire Station where he collaborated with some of his favourite
musicians. He’s invited them back for this new studio album, and
what a fine band they are too. The blending of Saskia Tomkins’ violin
and whoever’s playing the accordian (my notes are sketchy and there’s
no liner information) is a constant joy to the ears, and that coupled
with Johnson’s beautifully written and arranged songs keep interest
levels to the max. Johnson injects humour into his lyrics and on one track,
the so true ‘Moronland’, comes across like a folkier Ian Dury
as he berates the state of play in modern day England. However, if I had
to make one comparison I would say Al Stewart.
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Omar Kent
Dykes & Jimmie Vaughan - Jimmy Reed Highway
Ruf Records RUF1122 Reviewed by AH
In the world of the blues Jimmy Reed occupies a slot as revered as any
of the old masters. His particular brand of lazy, loping rhythms and laid
back boogie shuffles have that special something guaranteed to make a
dead man groove in his grave.
Fellow Mississippian Omar Dykes and legendary Texan Jimmie Vaughan pay
tribute to the great man with this collection of Jimmy Reed classics.
Both men possess an enviable back catalogue and have considerable skills
on the guitar and egos could quite easily have got in the way, so pleasing
to report that that’s definitely not the case here. Things get underway
with the one original, ‘Jimmy Reed Highway’ and from the off
it becomes evident that this record has the all important groove going
on. Dykes’ growl of a voice leaps out of the speakers, rasping away
on a heady mix of Jack Daniels and too many Marlboros, whilst Vaughan
adds in plenty of his trademark licks to make it an intoxicating brew.
Some pretty heavyweight friends drop by to help the proceedings go with
a swing. Kim Wilson and James Cotton blow most of the mean harp, Texan
Lou Ann Barton’s pipes grace three of the tracks and Delbert McClinton
also lends a hand on the classic ‘Hush Hush’. It’s all
very simple but so effective, and a rollicking good listen.
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Murcof
- Cosmos
The Leaf Label BAY59 Reviewed by JK
Murcof is Fernando Corona a Mexican musician whose previous outings have
been in ambient electronica, usually with a beat of some form but always
with something different in the mix. In Cosmos he has moved into less
familiar waters, using recordings of acoustic instruments to produce extremely
powerful and dark sonic vistas that are often truly cosmic and just as
often quite terrifying; prepare to be disturbed by the warped and dirty
sound on these six tracks. But don’t be put off, just think 2001
a Space Odyssey and add the grit and grime of long distance space trucking
into the mix. It’s not always a pretty thing but sometimes beautiful
vistas open up, as in the Close Encounters organ riff on opener Cuerpo
Celeste, albeit accompanied by waves of bass undercurrent.
There are two beat driven numbers on here that provide a link to earlier
works, Martes and Remembranza but even these are plain filthy by the standards
of the Orb for instance. While the sounds here are acoustic in origin
it’s not always clear that this is the case, nonetheless the presence
of cellos, violins and mighty organs is apparent, quite strange and beautiful
in the context of this murky music. While dark, Cosmos makes for a great
sonic landscape in the atmospherically adventurous home or automobile.
It has a high specific gravity though so watch your step. |
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Martin
Sexton - Seeds
Kitchen Table Records KTR005 Reviewed by AH
Martin Sexton once sold 20,000 copies of a home produced demo, and that
was way before he ever got signed! That in itself is a phenomenal achievement,
but just goes to prove if you have the talent it will shine through, no
matter what.
Sexton eventually signed for Atlantic and released two fabulous albums,
prompting Billboard to label him as “the finest new male singer/songwriter
in recent memory”.
Now a fiercely independent recording artist and much travelled live performer,
Sexton continues to push out an extraordinary body of work, Seeds being
his latest masterpiece. Containing elements of soul, funk, R ‘n’
B (the real thing, not the dreadful chart stuff dominating our airwaves),
rock and folk, Seeds is beautifully underpinned by a voice of majestic
power, control and flexible grace. In fact, if you really want to hear
a master at work take yourself off to the bonus track ‘Keep It Simple’,
it features all manner of vocal gymnastics and goes to prove a song doesn’t
necessarily need a backing band to capture the imagination. Having said
that, Sexton’s band are a top notch bunch who really know how to
make a song swing and breathe, their input is always just what is needed
and impeccably delivered.
Chuck in a beautifully organic production job and what you have is a record
pretty damned close to perfection
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Jeff
Talmadge - At Least That Much Was True
Corazong Records 255096 Reviewed by AH
Just because an artist is deemed to be ‘the darling of the press’
it doesn’t automatically mean they’re any good. I’ve
lost count of the number of times I’ve bought an album by ‘the
next big thing’ only to scratch my head in bewilderment.
Jeff Talmadge has been receiving great press since the release of his
debut Secret Anniversaries in 1999; fortunately he has the talent to back
up the kind things people say about him. An easy going singer in the same
mould as fellow Texans Townes Van Zandt and Guy Clark, Talmadge also shares
their storytelling way with a song. With a whole host of great Lonestar
musicians at his disposal, including the wonderful Lloyd Maines on Dobro
and Steel, Talmadge weaves his own inspired fingerpicking style around
the rich imagery of his lyrics. ‘Wrong Train’, a true story
about you’ve guessed it - getting on the wrong train, is a classic
example of all that is good and great about this Texan troubadour. He’s
much better when he stays with his own material but can’t resist
a bash at Dylan’s ‘Girl From The North Country‘. It’s
a bit fruitless really, as it adds nothing of any real note to the original.
Talmadge is best experienced after a hard day at the office and hey, we’ve
all had one of those.
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Jimmy
Thackery - Solid Ice
Telarc Records CD83661 Reviewed by AH
For 14-years Jimmy Thackery was the guitar heartbeat of Washington DC
combo, The Nighthawks. Renowned for their gruelling touring schedule,
The Nighthawks gained massive respect amongst their peers and fan base,
not least for Thackery’s wildly inventive guitar playing.
Since leaving the band Thackery’s carved a name for himself as a
solo artist of considerable imagination and diversity, as this new album
proves. Taking a six-month hiatus from the road Thackery recorded Solid
Ice in an unhurried atmosphere, but if you think that makes it elevator
music - think again. No sir, this is a guitarist more than capable of
ripping it up with the best of them, as he proves with the 70’s
riff rocking ‘How Long’ and the explosive opener ‘Hit
The Big Time’, which contains one of those solos you wish would
carry on just that little bit longer.
Diversity can be a great distraction but the beauty of Thackery is he’s
just as comfortable with a jazzy instrumental or a country-infused ballad
as he is with rocking blues or bluesy rock. ‘Blue Tears’ is
one such ballad, a real tearjerker that brings out a great vocal performance
too. Throw in a sympathetic reading of Jimi Hendrix’ ‘Who
Knows’ alongside the brilliant originals and you’ve got yourself
yet another great Thackery album.
Air guitarists have your broomsticks and tennis rackets at the ready.
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Jinder
- I’m Alive
Folkwit Records FO011 Reviewed by AH
The term ‘Americana’ covers a vast spectrum but is generally
considered sole ownership of one country -America. Well, ladies and gentleman,
let me introduce you to a young man who is about to prove that theory
well and truly wrong.
His name is Jinder and he hails from the south; not Nashville, Texas or
Georgia but Bournemouth in Dorset, England. Jinder’s first album,
a folky low-key affair with more than a twist of Townes Van Zandt about
it certainly showed a lot of promise, but this…well, this deserves
to place him shoulder to shoulder alongside the greats: the Steve Earles,
the Van Zandts, Terry Allen, Guy Clark, Tom Petty - pretty much any American
you care to mention who knows how to write a killer song.
Jinder is not only blessed with great writing skills but a great voice
too. Witness the sheer power he rustles up on the traditional ‘In
My Time Of Dying’, he fills it full of pain and suffering but at
the same time somehow manages to make it sound incredibly uplifting.
It’s totally pointless trying to pick a favourite because all twelve
songs have something magical about them and hang together beautifully
on the strength of this young man’s majestic talents.
If he keeps this standard up Jinder’s going to be huge. Make no
mistake, this kid’s got what it takes.
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Joan
Armatrading - Into The Blues
Hypertension Records HYP7255 Reviewed by AH
Joan Armatrading has always been something of an enigma; a fiercely private
individual but an artist able to connect with millions through her intense
skills as a songwriter. Who can forget her most famous composition, the
haunting ‘Love And Affection’?
She’s no one trick pony though, her back catalogue is as revered
as any of her contemporaries, and just to prove she’s not an artist
to stand still this album finds her stepping into the blues for the first
time. It suits her too, but because of who she is and how she writes it
was never going to be a straightforward wander into the genre, Lyrics
have always played a major role for Joan, and they come to the fore once
again here. She’s even talking about ‘taking her clothes off
when her baby sings the blues‘, regardless of the fact he has ‘ears
like handle bars’ and ‘pimples on the cheek’.
Time hasn’t diminished her highly distinctive voice either; it’s
in fabulous condition throughout and never better than on ‘Secular
Songs’, a track more reminiscent of her early work.
Apart from employing Miles Bould to handle the drum parts, all other instruments
and backing vocals are handled by Joan, and she also handled the excellent
production. The blues suits her, she should hang around it a while longer
and see where it takes her.
Supplier: www.warnerbrothersmusic.com |
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The
Romeros with Jaleo - World of Flamenco [Guitars, Song, Dance, Poetry]
Speakers Corner/Mercury Living Presence 2-9120 Reviewed by RSF
The Romeros (Celedonio, Pepe, Celin and Angel) embarked on a landmark
Town Hall concert in 1961 and since then (throughout the 1960’s)
they performed as a family in excess of a 100 concerts per year. Several
of the sons (Pepe, Celin and Angel) have continued recording for many
years. Although it was recorded in a small studio in the Hollywood hills
this disc was intended to transport the listener to a café cantante
in their native Spain. The Jaleo assembled consisted of Raul, Angel and
Isabel Martin as well as the singer Maria Victoria. This is truly a memorable
set of two records that will bring you
closer to an authentic Flamenco Party then you’ve ever been before.
There is a level of singing, dancing and percussive playing that is vividly
exciting and the lively dances such as the rumba, zapateado enhance the
listening experience tremendously.
The liner notes are extensive and will help you to understand how the
Jaleo and Guitarists mingle. The Romeros produced about nine records for
Mercury, encompassing various styles of classical guitar music. This Flamenco
set is a departure from the norm that is both extremely exciting and most
enjoyable. Top Recommendation.
Supplier: www.speakerscornerrecords.com |
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Jazz
Music |
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The
Art Tatum – Ben Webster Quartet
Verve/Pablo/Analogue Productions 2310-737 Reviewed by DDD
Re-issued here on two thick slabs of 45 RPM vinyl is true desert island
fare. Originally issued as Verve MGV-8220 and much later as Pablo 2310-737,
this 1956 session matches two jazz giants whose different styles would
not at first thought seem sympathetic, but Tatum’s florid style
and Webster’s lush, deliberate melodic lines fit together like butter
and jam. Musically speaking, it doesn’t get much better than this.
Webster carries the day with his lush sound and Tatum carries Webster
on starlight. To top it off, the recording is near perfection in big,
full, mono sound. As good as original pressings sound, this re-issue goes
to the head of the class and Kevin Gray and Steve
Hoffman again deserve kudos for an outstanding mastering and cutting job.
While expensive, this issue costs a third of what an original copy would
cost you in near mint shape, and this one is available new. Why this issue
was not released until the fourth set of Analogue Productions “Top
100 Jazz” re-issues remains a mystery. Unfortunately, the set is
released in the Pablo cover instead of the much more elegant Verve cover,
and bears stereo labels. Fear not, this is not the electronic stereo version,
but a true mono release. Essential. |
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Helge
Sunde Norske Store Orkester - Denada
ACT ACTSACD 9805-2 Reviewed by JK
This is a record of what can only be described as contemporary big band
music that owes its roots to Duke Ellington’s more left-field productions
yet which is very much 21st century in content.
Two musicians are given headline credit alongside composer and horn player
Sunde: Marilyn Mazur on percussion and Olga Konkova who gets to play the
only solo number on her piano.
This album has phenomenal dynamics, a result of wide bandwidth, wide dynamic
range and high-energy instruments. The mood varies but the best tracks
have a vitality and realism that will literally get the joint jumping
if your system has enough power and extension at the frequency extremes.
Fortunately this sonic quality is allied to musical quality thanks to
the writing skills of the Norwegian at the helm. As a rule I struggle
with music that is high on brass content but Sunde uses the tonal colours
of his band in such a way that it works. He also produces plenty of variety
across the album so that only a couple of tracks are brass extravaganzas,
while elsewhere these instruments are just one part of the mix.
The 24bit/96kHz original recording was made at the Rainbow Studio, Oslo
by Jan Erik Kongshaug using Dynaudio monitoring and a Harrison analogue
mixer resulting in an album of great music with great sound and one that’s
definitely off the beaten track.
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Steve
Lacy - The Straight Horn of Steve Lacy
Candid/Pure Pleasure 9007 Reviewed by DDD
Steve Lacy, one of the all-time top jazz soprano players, has recorded
dozens of albums, and this is one of his best. Propelled forward by Roy
Haynes’ insistent percussive drive, Lacy’s imaginative explorations
of the “straight horn” in this 1960 session keeps the listener
on the edge of his listening chair, wondering what Lacy will do next.
Lacy has always been fascinated by Thelonious Monk, and here he is accompanied
by two Monk sidemen (Charles Davis and John Ore) and half the numbers
on the album are Monk compositions. If you like soprano sax, avante jazz,
or any type of edgy imaginative music, you either know this album already
or you need to. For those new to Lacy, this is a good place to start before
going on to some of his incredible duet recordings from later decades.
There is not a mediocre record in the Candid 1960’s catalog from
either a musical or sound recording standpoint, and this stereo reissue
is up to Pure Pleasure’s usual high standards.
The record presents a fairly compact stereo image that works well for
this music. The rhythm section is particularly well captured. The re-issue,
mastered by Graeme Durham at The Exchange and pressed by Pallas, surpasses
the quality of the Candid original, which is saying a lot indeed.
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Abbey
Lincoln - Straight Ahead
Candid CCD 79015 Reviewed by DD
Stellar would be an understatement for the backing musicians here since
the band includes the likes of Eric Dolphy, Coleman Hawkins, and Abbey
Lincoln’s sometime husband Max Roach. Following her great work of
a year earlier in Roach’s We Insist!
Freedom Now Suite (also available from Candid and an essential purchase),
this features pretty much the same band, her vocals here as in that album
have a similarly declamatory and slightly strident edge. It all works
superbly though, the warmth and fluidity of the accompanying playing,
and the convincing way that Lincoln can get a lyric across (once you’ve
become accustomed to her style), makes for a deeply satisfying experience.
There’s not a weak track here but particularly enjoyable are ‘Blue
Monk’ with the addition of Lincoln’s own lyrics and some neat
muted trumpet behind her voice from Booker Little, before Hawkins delivers
a great solo. ‘Left Alone’ with Billie Holiday’s lyrics
and Mal Waldron’s melody sees Lincoln taking a slightly more melodic
approach with more than a hint of Holiday’s own style in her reading,
with a haunting and absolutely beautiful solo from Hawkins, this number
becomes a particularly bright gem in this jewel box of a set. Also available
in a superb vinyl pressing from Pure Pleasure, I wouldn’t want to
be without either version.
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Ray Charles
and the Count Basie Orchestra - Ray Sings-Basie Swings
Concord/Pure Audiophile Records PA 012-(2) Reviewed by DDD
At first I was put off by the idea. Tapes were discovered of Ray Charles
singing with the Basie Orchestra in 1973, but the quality of the orchestral
recording was terrible, so the producer commissioned new orchestral recordings
of the current Basie Orchestra. Frankenstein music, I thought to myself.
But then I listened to the discs and was captivated, because it really
works. This was not the first such collaboration. Charles’ 1961
Impulse! release Genius + Soul = Jazz involved the same forces, but here
a handicap was thrown in the mix. Ray sang his parts in 1973. The band
recorded its parts in 2006, mastered by legend Doug Sax. This double vinyl
album release was half-speed mastered by Stan Ricker, and like all Pure
Audiophile Records releases is beautifully packaged and pressed. The vinyl
is worlds better than the CD release and is some of the best sounding
Ray Charles you are likely to hear. Thirteen tunes are well spaced over
four sides of vinyl. The discs also have a new innovation of Stan Ricker’s
design – what he calls a “stopped groove” which arrests
the travel of the stylus before it speeds towards the label. A fun record
easily recommended.
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Mark
Soskin - One Hopeful Day
Kind of Blue 10019 Reviewed by DD
Hitherto lacking recognition as a leader, Soskin has certainly earned
his top billing here. With 11 years backing Sonny Rollins along with performing
and recording with the likes of Joe Henderson, Billy Cobham, Randy Brecker
and Stanley Turrentine, his expertise is more than proven. Backed here
by a fine quartet comprising John Abercrombie (guitar), Chris Potter (sax),
John Patitucci (bass), and Bill Stewart (drums), the album launches with
a sprightly version of ‘On the Street Where You Live’, Soskin’s
deceptively gentle intro lulling you before Stewart’s drums kick
in and Potter’s sax introduces the melody. Better yet this is followed
by an excellent version of Monk’s ‘Bemsha Swing’ powerfully
driven by the rhythm section, including particularly fine bass from Stewart.
Chick Corea’s
‘Innerspace’ gives Patitucci an opportunity to stretch out
and he delivers a great solo followed by an equally fluid performance
from Soskin. Amid a strong selection of numbers Soskin contributes three
of his own compositions to the set including the gentle, reflective title
number and ‘Step Lively’ a tune that greatly benefits from
the added texture of Abercrombie’s guitar and is for me the standout
number from this strong album. With a warm, full-bodied recording this
is a great showcase for Soskin’s undoubted ability as a leader and
for this very fine band.
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