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Pop
and Contemporary Music
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Martin
Stephenson - Sweet Misdemeanour
DEMON RECORDS FIEND CD 770 Reviewed
by RP
Sweet Misdemeanour features fourteen songs that for whatever reasons (be
they artistic or commercial) did not fit comfortably into the album releases
before 1995. Relaxed organic guitar sessions reuniting former Daintees
Anthony Dunn, Paul Handyside and drummer Greg Drysdale are enriched by
six-string specialist Joe Guillen. His slick vintage Gretsch guitar work
graces all but three acoustic Stephenson solo numbers: 'South Wind', 'Hold
Me, Love Me' and 'Smokey Mokes'. Guillen's brilliance effortlessly traverses
a variety of styles: leading the rootsy rockabilly in 'Can't Find The
Doorknob', sparking the rock and roll on 'Ball of Fire', providing the
pedal steel support in an opening country, 'Mavrick Waltz', and crossing
the tracks to embrace Cuban rhythms with such panache that Martin (on
the title-song liner notes) affectionately says "He's a twat - I've always
wished I could play like that"! A simple studio recording (using an old
analogue desk) touchingly captures these moments cleanly and clearly on
two inch tape. Consequently, this CD has the feel and freedom of an intimate
live set, which places it at the heart of Martin's belief that we should
be social with music. A must for any fan who wants deeper understanding
of an extraordinary musician.
Supplier: The Cherished Record Company - www.cherished-record-company.co.uk
(44)(0)1579 363603
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Primal
Scream - Exterminator
Creation CRECD239 Reviewed
by JM
Anyone with the good sense to release a single and open an album with
a song entitled, 'Kill All Hippies' gets my vote before I've even heard
it. As a statement of punk rock intent it cannot be bettered. This album
is punk in spirit if not in form or practise. Gillespie and the lads have
turned their hand, once again, to the dance floor and proved that, for
a rock'n'roll band, they sure know how to do digital hardcore. Aided and
abetted by such contemporary production luminaries as The Chemical Brothers,
Kevin Shields (of noise masters My Bloody Valentine) and The Automator
(aka Dr Octagon), The Scream take a variety of approaches, all dark in
tone, most of them banging. Mood changes are apparent only in the long,
skewed free jazz episodes - redolent of Sun Ra, though somewhat less joyous
- which occasionally break into the four-to-the-floor Prodigyesque hardcore
beats. Lyrically, Exterminator is an old school protest album, railing
against such anarchist targets as 'global militarism' and 'the military
industrial complex', causes which haven't been covered in song form since
the folk revival (or at least since The Clash broke up). We can only hope
that The Scream kick start a polemical renaissance in these benighted
corporate times.
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Hank
Williams - The Best of
Spectrum 554 381-2 Reviewed
by JM
If you need an introduction to one of the presiding geniuses and household
deities of American songwriting you could do far worse than this "cheapo"
(circa £6) compilation. It's country music, friends, and country music
of the highest calibre. Direct, conversational, raw; simple but effective.
Between 1948 and '53 Williams dominated the country charts with twenty-seven
hit records, twenty of which may be heard here. Cover versions of his
material by such as Tony Bennett (with a smoothly crooned 'Cold, Cold
Heart'), Frankie Lame (a proto-rock'n'roll 'Hey, Good Lookin') and The
Carpenters (a sweetly harmonised 'jambalaya (On The Bayou)') have sold
many millions. The altogether more earthy originals are here replete with
moaning steel-guitar, keening country fiddle and archaic western harmonies.
Alongside his famously posthumous releases, 'Kaw-Liga' and 'Your Cheatin'
Heart' are miserablist classics like 'I'm So Lonesome I Could Cry', 'Love
Sick Blues' and 'Long Gone Lonesome Blues' and the wittily philosophical
'I'll Never Get Out Of This World Alive'. Considering he was a legendarily
unreliable alcoholic addicted to painkilling drugs who died at the age
29 - actually, even without considering that - Ole Hank done purty good.
A sound investment for all you saddle tramps out there
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Slaid
Cleaves - Broke Down
CRS/Philo 1225 Reviewed
by RG
New name, great record. I've never heard of Slaid Cleaves, but like it
says on the sleeve "Anybody who has the nerve to drive a Dodge Dart Sport
is worth a listen". I don't know what a Dodge Dart Sport is either, but
the sentiment somehow sums up the music on this disc. This is country,
and we're on familiar ground; loss, loneliness and domestic disaster.
The tunes and playing seem familiar too, but just when you think that
you know where that chord progression's headed, it'll up and surprise
you. Country, yes, but with a twist. Melodies that constantly trick and
beguile, rhythms that stop just when you expect them to start, a two line
coda after the final chords, this music is full of surprises. Add that
inventiveness to a great voice and beautifully arranged yet sparse backing,
and you've got my record of the year so far, helped by a crystal clear
recording that avoids the swamping reverb of so much country slush. The
lyrical cleverness is a little bit Squeeze, while the vocals and playing
are a bit Chris lsaak, but the results are all Slaid Cleaves. This boy
should go far.
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Steely
Dan - Two Against Nature
Giant records 9 24719-2 Reviewed
by CB
Twenty years. That surely must be the longest period between albums in
the world.., ever. But those converted to the music of Steely Dan have
been waiting patiently with rumours of Walter Becker and Donald Fagen
back in the studio together and the odd solo album for comfort. Has it
been worth it? All the trademarks are there with a collection of wry and
cynical songs performed by Becker and Fagen with the usual team of top
session men, although without the brilliant guitar work of Larry Carlton.
Polished to perfection in a style that was perfected on Gaucho and the
solo albums, perseverance pays off as they seem to give a little more
with each listen. The songs are good, as always, but are so "produced"
that they can come over as cold and Iifeless...a direction that the duo's
production has been taking for a long time. Listening to this album I
wonder if it they have gone too far, as sometimes the effect can be clinical
in the extreme, and the lack of warmth tends to strangle any emotion that
was there in the song writing. So there you have it - the faithful will
regard it as an offering from heaven and talk about it for the next twenty
years, while those who felt that Steely Dan were just too sophisticated
for there own good will remain unconverted.
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Merz
- Eponymous
EMI 495500-2 Reviewed
by JH
After a friends recommendation and an intriguing outing on Jules Hollands'
Later programme I had to give this record by Merz a try. Were my sometimes
dodgy first instincts firing on all cylinders or was I to be disappointed?
Well the sheer existence of this review tells you it must have been good,
and in fact it is very good. Fusing some dancy beats with thoughtful lyrics
has been attempted before, and sometimes successfully. Add Merz to the
success list; in fact put them near the top. The backing music consists
of synth driven bass acting as percussion, but it is what comes between
this and the Finlay Quayl-like vocal which is unusual; strings, pianos,
guitars and brass have an outing, and it all works. The acoustic instruments
are wonderfully evocative and arc played out at about half the speed of
the underlying rhythms with real feeling. But this is to describe only
half of this album, the rest is more traditional but equally fine. The
songs are a little bit Reggae, a little bit Ska, and a whole lot Merz,
with the lyrics wistful and uplifting. A fine first album of great maturity,
a must buy.
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Nanci
Griffith - Blue Roses From The Moon
ELEKTRA 6201 5-1 Reviewed
by RP
From early country pickings to folkabilly. Through gentle, intelligent
rock and, most recently, with orchestral arrangements, the Grammy award
winning Nanci Griffith has never allowed Texas prairie grass to grow beneath
a song. Here, kindred musical spirits, including past and present members
of her Blue Moon band, are joined by the Crickets and Darius Rucker's
rich baritone on a live studio recording, that is full of first takes
and virtually no overdubs as four well-chosen covers and ten honest, deeply
personal Griffith originals of varying moods are featured. An upbeat opener,
'Everything Coming Up Roses', is followed by the intensity of 'Two For
The Road' and, just a few tracks later, an emotional 'Saint Teresa Of
Avila' tells of a childhood friend's suicide. They all, perhaps somewhat
surprisingly, sit comfortably alongside duets like 'Gulf Coast Highway'
(Rucker) and a boisterous version of 'I Fought The Law' (Sonny Curtis)
that shows terrific passion as it rocks to the stick work of three drummers,
including J. I. Allison. Without doubt they are sympathetically captured
by Don Gehman's neatly packaged recording. His earlier Tracy Chapman,
R.E.M. and John Mellencamp productions have helped to make Blue Roses,
in every sense, a nicely judged set and a pleasure to find on vinyl.
Supplier: The Cherished Record Company - www.cherished-record-company.co.uk
(44)(0)1579 363603
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Spearmint
- A Week Away
hitBACK Reviewed
by JH
Spearmint are a new band and with this fine album they are set to establish
themselves in the front line of imaginative British rock, and as that's
a little lacking at present this all for the good. Spearmint have recorded
some super catchy tune and melody led rock songs which arc enthused with
great excitement and joi-de-vivre. The bulk of their music is electric
guitar driven, usually with a quite fast pace, although the slower songs
are poignant and they aren't afraid to combine tempos in a song, allowing
evolution of pace to reflect the story in the lyrics. These are delivered
by a male lead singer (with the interesting first name of Shirley, what
were his parents on?) belting out tracks which are kept short and sweet,
interspersed with often humorous snippets of spoken commentary. These
lyrics are written either singly by Shirley or in collaboration with other
band members and arc perhaps best described as earthy and easy to connect
with. If I had to compare this band to anybody else it would be Pulp.
Both bands share that common touch with melody and lyrics, and most importantly
an ability to create a really catchy hook.
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Peter
Himmelman - Stage Diving
Plump 6903 -2 Reviewed
by AH
Regular readers of this magazine will already know of my appreciation
for this hugely talented artist (check out the review of Flown This Acid
World in issue 3). His studio albums are all of the highest calibre and
well worth checking out, but it's on stage in an intimate club like New
York's Bottom Line where Himmelman really works his magic. He is a true
master of spontaneity and improvisation - for instance, when he asks the
audience for a subject he can sing about someone shouts out "steak!",
so he launches in to an hilarious tune about the romantic qualities of
a slab of beef!! Stage Diving features beautiful renditions of some of
Peter's best loved songs, including 'Impermanent Things' and the heart-warming
'Raina'. Also featured is stage favourite 'Woman With the Strength of
10,000 Men', a true story of a woman paralysed from Lou Gehrig's Disease
who can only communicate through a machine hooked up to her eyebrow. Since
writing the song Suzanne has passed away, adding more emotional weight
to an already supercharged subject matter. It's rare to hear a live album
that really makes you wish you had been there - Stage Diving is one such
animal.
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Paula
Cole - Harbinger
IMAGO/WARNER 9362-46041-2 Reviewed
by RP
A notable single release, 'I Am So Ordinary', drawing upon romantic entanglements
and low personal self-esteem, fuelled the flames of the first of Paula's
high-octane discs, but these were all too soon doused by an untimely collapse
of lmago's distribution deal with BMG. Although Warner re-released Harbinger
a year later, in 1995, they could not rekindle an immediate commercial
success from its ashes. For that we must look to the superb songwriting,
vocals and recording of her follow-up album, This Fire, which was reviewed
some months back in Issue 4 of hi-fi+. Harbinger, beautifully crafted,
may not quite be the finished article, but it is (as the title suggests)
close to those qualities. Full of slick string arrangements that flesh
out the emotional impact of songs like 'Our Revenge' and 'Chiaroscuro',
Paula's lyrics denounce modern-day demons (ostensibly racism) but ultimately
fail to exorcise them, thus falling short. Despite this absence of solutions,
the probing writing generously extends to 58 minutes, and these fourteen
well-recorded mixes from Kevin Killen help make a pervasive and persuasive
pop-rock album framed around a famously versatile and attractive voice.
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Jacintha
- Autumn Leaves - the songs of Johnny Mercer
Groove Note G6V2006-2 Reviewed
by DD
Following her highly successful Ben Webster set it was natural for Groove
Note to follow it with another 'great'. This time though it's a songwriter,
and few come better than Mercer. The album is stuffed with standards from
'Autumn Leaves' and 'One for my Baby', to 'Moon River', most of them associated
with equally great singers, whether Sinatra, or Fitzgerald. A tall order
then. Backed by the same quartet as on Here's To Ben I feel that Jacintha
has matured a little since that first album. Her voice is more expressive
and she sounds more relaxed. Strongest in the slower, softer numbers ('Skylark'
is given a lovely reading) the standout track is 'Autumn Leaves'. Jacintha
sings the original French intro and first verse, and if this doesn't get
your pulse quickening you'd better consult an undertaker. This is followed
by a lengthy and beautifully played instrumental interlude before she
rejoins with the more familiar English lyrics. Whilst I wouldn't categorise
Jacintha with the likes of Fitzgerald or Holiday (let's keep a sense of
proportion here), this is lovely stuff, and for me it's a big improvement
on her first release. The recording is to the usual high Groove Note standard.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Emmylou
Harris - Elite Hotel
Reprise 7599-27246-2 Reviewed
by JM
Emmylou's stunning voice was first heard on Gram Parson's Grevious Angel,
a pioneering album that basically opened the door for country rock supergroups
like The Eagles. After Gram's tragic suicide, Emmylou continued as a solo
artist, releasing her celebrated debut album Pieces Of The Sky in 1975
and then unleashing this wonderful work a year later. For Elite Hotel
Emmylou assembled some of America's finest musicians, including Elvis
Presley's guitarist James Burton, Rodney Crowell, 'Eagle' Bernie Leadon
and red hot pianist Glen O. Hardin. Hardin plays a lovely rolling piano
lead on Buck Owens' 'Together Again', the perfect backdrop to Emmylou's
breathtaking soprano, while the ever dependable James Burton plays what
must rank as one of the simplest but greatest solos ever on Rodney Crowell's
'Til I Gain Control Again'. Emmylou has never been one to stick to Nashville's
annoying habit of producing 'country by numbers', and she proves the point
on Elite Hotel by covering The Beatles 'Here, There and Everywhere', managing
to improve on the original and even scoring a hit single in the UK, almost
unheard of for a country artist in 1976. The only small gripe I have with
Elite Hotel is the recording which is a little on the flat side. Definitive
digital remaster please, Warner Bros.
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Nanci
Griffith - The Dust Bowl Symphony
ELEKTRA 7559-62418-2 Reviewed
by RP
Ambitiously combining the elegance, orchestral colour and presence of
the London Symphony with the intuitiveness and personality of her own
Blue Moon players has revitalised over a dozen of Nanci's best-loved songs
in this translucent Abbey Road recording that expertly out distances any
potential trip-hazards to be found in a reworking of familiar material.
It is a retrospective which not only retraces artistic experiences over
a twenty-year career but is (as the title suggests) one that also evokes
and celebrates the sentiment and fondest childhood memories she still
possesses for the West Texas panhandle. On stunning, richly textured,
arrangements of old friends like 'Trouble In The Fields' and 'These Days
In An Open Book', or even in the Celtic-flavoured 'It's A Hard Life Wherever
You Go', Nanci delicately builds upon those distinctive, intimate qualities
that have always been at the core of her musical persona. Although this
remains a very different Nanci Griffith album, with obvious vocal maturity,
it is not Nanci Griffith reborn. She simply continues to move forward
the perceived boundaries of her country-folk origins. As the final chord
fades and the dust settles on this latest release, I just wonder now what
surprises her U.K. tour in May will hold in store.
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Chris
lsaak - Forever Blue
Reprise 9362-45845-2 Reviewed
by AH
Sales of this 1995 album have recently taken a serious up-turn, thanks
to the albums opening track 'Baby's Done a Bad Bad Thing' featuring heavily
in Stanley Kubrick's much hyped Eyes Wide Shut. That song, good as it
is, isn't really indicative of the mood of the rest of this masterpiece.
Isaak had not long lost the love of his life when he recorded Forever
Blue, which resulted in him writing some of the most gut-wrenching and
heartfelt songs of his career. The pain is there for all to hear in the
gentle country of 'Don't Leave Me On My Own' and the immensely moving
'Things Go Wrong', surely one of the saddest songs ever written. The tempo
does shift on 'Goin' Nowhere', lsaak adding some mean and angry guitar
to the somewhat caustic lyrics, but the sombre mood returns with 'Change
Your Mind', a sparse lament with minimal instrumentation and a glorious
vocal from lsaak. The spirit of the late, great Roy Orbison regularly
surfaces in Isaak's singing, none more so than on 'Shadows In A Mirror'
and the ultra sad 'The End of Everything'. He is fondly remembered for
the hit 'Wicked Game' and rightly so, but lsaak's no one hit wonder. Anyone
who has ever been the victim of unrequited love will understand where
Isaak was coming from when he recorded Forever Blue, for this reviewer
one of the greatest albums ever made.
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Dock
Boggs - His Folkways Years 1963-1968.
Smithsonian Folkways SF 40108 Reviewed
by JM
What we have here is an elderly bespectacled cove with a weird voice and
a five-string banjo, but you mustn't let that put you off; in Dock Boggs
we find one of the fundamental root-stocks of rock'n'roll. This expansive
- 2 hours and 22 minutes-worth - set of fifty songs is an awesome thing
indeed. Originally released on three Folkways LPs these recordings would
be a major influence on such diversely poetic songwriters as Bob Dylan,
Gram Parsons, Bruce Springsteen and Nick Cave. His Folkways Years
is a well-spring of songs; murder ballads, blues, bluegrass, mountain
music, spirituals, whose themes are as old as the Kill Devil Hills. Boggs,
a Kentucky coal-miner and union organiser, was "discovered" twice in his
life. First by Brunswick for whom he recorded twelve songs between 1927
and 1929 and secondly during the folk boom of the early sixties. Dock
was already an old man when he recorded these pieces and there is a desolate,
fractured, ghostly quality to the performances which speaks volumes before
you even get to the lyrics of such spine chillers as 'Oh, Death', 'Pretty
Polly' or 'Old Joe's Barroom'. "Who would ever shake hands with Dock Boggs",
wrote Greil Marcus in Invisible Republic, "who sounds as if his bones
are coming through his skin every time he opens his mouth?"
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Jimmie
Lee Robinson - Remember Me
ANALOGUE PRODUCTIONS APO 2006 Reviewed
by RP
Sparse, dignified arrangements from a time-served Chicago blues man authentically
tap into the unspoiled riches of a Maxwell Street tradition that has moulded
careers since the Great Depression. Robinson began playing there back
in '42 and his deep, powerful voice on 'Boss Man' or 'Wait For Me' cannily
illustrates the value of living through such turbulent times. Having immersed
himself in the blues for over half a Century, Jimmie Lee, casually working
the strings of a Washburn acoustic guitar, is a priceless connection to
those days - a link that will only be severed as the last breath leaves
a generation of musicians. Never over-burdened by the melancholy of all
those experiences, always searching out subtle and resourceful methods
to colour a song - be it a throat-clearing croak, guttural rasp, spur-jangling
beat, gently overpitched phrase, or whistled tune -Robinson discharges
a level of creative energy that belies his sixty nine years. The two-track
recording of these eleven songs effortlessly matches every twist and turn
in their delivery through a carefully miked solution. It even picks out
and runs with the humour on 'The Boll Weevil' when lesser productions
might not have kept pace. Delightful.
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Jimmie
Rodgers - The Very Best Of
Camden 74321 535852 Reviewed
by JM
Among Jimmie Rodgers sobriquets are The Father of Country, America's Blue
Yodeller and The Singing Brakeman, He didn't so much invent the blue yodel
as bring it to the attention of the poor masses, while inspiring such
greats as Hank Williams and Merle Haggard. He cut his first record in
1927 and six years and a hundred songs later died - in classic poetic
fashion of tuberculosis -just short of his 36th birthday. The blue yodel
is an odd combination of 12-bar blues and traditional yodelling which
can be traced from the mountainous areas of Europe via the trail yells
- yippee eye ay - of cowboys, and the work chants of chain gangs. He also
incorporated - on such numbers as 'Train Whistle Blues' and 'The Brakeman's
Blues' - an atmospheric and fiendish-sounding vocal approximation of a
steam whistle. Besides the blues based material there are trail songs,
parlour ballads, and trad folk tunes among these 22 songs. Well-known,
oft-covered classics like 'Muleskinner Blues', 'In The Jailhouse Now'
and 'Frankie & Johnny' here rub shoulders with more obscure yet equally
fine material. 'Gambling Barroom Blues', for example is an excellent version
of 'St James Infirmary Blues' while 'TB Blues' is a maudlin masterpiece.
£5.99, and cheap at twice the price.
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Jazz
Music
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Kendra
Shank - Afterglow
Mapleshade 02132 Reviewed
by DD
Singer-guitarist Kendra Shank has had a lengthy apprenticeship, much of
it in France (she considers Paris her second home), and has recently performed
at jazz festivals and clubs around the world. Shirley Horne introduced
her to Mapleshade and I'm glad she did because this is a lovely set. Mostly
because she has a warm, very pure voice with plenty of expression, but
also because she's sensitively backed by some fine musicians including
Larry Willis (piano) and Gary Bartz (Alto sax). To add icing to what's
already a pretty rich cake, Kendra clearly has an ear for a good song
since the numbers here include songs by Elvis Costello, Jobim and Holiday
alongside a single composition of her own, the snappy 'Paris Bossa' which
holds its own in pretty distinguished company. She sounds particularly
beguiling whilst singing in French as she does in 'Tes Yeaux Bernol' where
she's sensitively accompanied by Willis. And to top it all Mapleshade
have delivered another excellent, open, recording. Staging is excellent
with plenty of depth and the whole thing is simply unfussy and natural.
What are you waiting for?
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Clifford
Brown All Stars - EmArcy
MG 36102 Alto Reviewed
by DD
Recorded in '54, two years before Brown's death, this album comprises
just two numbers; 'Autumn In New York' which clocks in at an impressive
21.40, and a relatively short take on 'Caravan' at 15.17. Brown leads
an exceptional band featuring Max Roach on drums and Herb GeIIer on alto,
with Walter Benton on tenor, Kenny Drew piano, and Mr 'You Get More Bounce'
himself, Curtis Counce on bass. With this quality of band the 'All Star'
epithet is for once appropriate and their familiarity with each other,
and with the standards concerned, means that they could stretch out to
great effect. 'Caravan' steams ahead with barely a pause for breath, driven
along by really propulsive percussion from Roach. All the band members
get plenty of soloing in, and very fine stuff it all is. Brown's fluid
lines coupled with Roach's frenetic drumming really stand out although
it seems churlish to call out anyone from such a fine band effort. 'Autumn
In New York', taken at a much slower pace, is like a long cool bath after
the heat of 'Caravan', and again features great work from the whole band.
The (mono) recording is fine. Cymbals are a little splashy but there's
plenty of detail, presence and punch in this dynamic recording.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Guilherme
Vergueiro and Carlos dos Santos - Espiritu
Naim cd041 Reviewed
by DD
Recorded in August '99 at the Mad Hatter Studios in L.A. Naim state that
this is 'Sensual music from sunny Latin climes', and what do you know,
it is! With Carlos dos Santos on acoustic guitar and Guilherme Verguerio
on piano, this is a gentle laid-back set. The interplay between the two
is a joy to the ear and the standard of playing is very high throughout.
And whilst 'relaxed' might be a term coined specifically to suit this
music, it's not muzak. Far from it. An inherent rhythmic feel holds it
together and the melodies are subtly realised. At no time did I feel that
the lack of additional musicians was a problem. And curiously, whilst
most of the numbers are taken at a gentle pace, the overall feel is uplifting:
Summer comes early to Winchester, pass me that Pina Colada. The recording
is among Naim's best efforts delivering proper body and character to each
instrument along with lots of fine audible 'clues' like Verguerio singing
along under his breathe as he plays which makes the experience all the
more real and enjoyable.
Supplier: Naim Audio - www.naim-audio.com
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Patricia
Barber - Companion
Blue Note 7243 5 22963 2 3 Reviewed
by DD
I quite liked Barber's breakthrough album Café Blue but still had a few
doubts feeling that there was a touch of the Emperors clothes about the
adulation that was heaped on her at the time. This album, recorded live
at The Green Mill, Chicago. is another matter. It's much less clever,
more straight-ahead and all the better for it. Barber, accompanied by
a very capable quartet, in particular Michael Arnopol on bass, breezes
through seven numbers in a short 43 minutes. Opening with her take on
the old Sunny & Cher number 'The Beat Goes On' Barber quickly takes ownership,
giving the song a much more contemporary feel, accompanied by a driving
bass line from Arnopol and her own tasty Hammond B3 work, plus finger
snaps and audience clapping that's very nearly in time. The rest of the
set comprises a Bill Withers number ('Use Me'), four Barber compositions
and a lengthy closing take on 'Black Magic Woman' which only lacks the
flair of a Peter Green or Carlos Santana to really bring it to life. The
recording, in what sounds like a small venue is very good. warm, weighty
with plenty of detail. For anyone seeking an introduction to Barber's
work, start here!
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Ted
Sirota's Rebel Souls - Rebel Roots
Naim cd014 Reviewed
by DD
Having been introduced to this band via their second CD, it seemed logical
to investigate their first release for Naim. This set, recorded in '96
is a more even paced affair than Propaganda. Covering 10 numbers including
modern jazz classics like Rollins 'East Broadway Rundown' and Monk's 'Brilliant
Corners', the album is something of a homage to free jazz. Don't run away
though, that's not to say that it's a melody free set. In fact although
there's a good quota of free blowing, it's always within a tight groove
and the music flows beautifully. The set includes four numbers from the
band's guitarist Jeff Parker one of which, the gentle, rolling 'Wait'
is a standout track with some particularly lovely sax work from Kevin
Kizer set against strong bass lines from Jeff Hill, with rim shots from
Sirota setting the pace. Just as well recorded as their earlier album
with Sirota's drum kit very well captured. the acoustic of the recording
venue. Goodspeed Recital Hall, Chicago. comes across really well. The
album was recorded in two short days. As a result there's a 'live' feel
to the set that makes it much more enjoyable than most studio fare. Highly
recommended.
Supplier: Naim Audio - www.naim-audio.com
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Mary
Stallings - Fine and Mellow
Clarity Recordings CCD 1001 Reviewed
by DD
I'd not heard of Mary Stallings before receiving this CD for review. A
quick thumb through my trusty MusicHound Jazz Guide told me that I still
have a lot to learn, citing one of her albums (Spectrum if you must know)
as one of the best albums of the '90's. It turns out she's been performing
since the early '60's singing with bands ranging from Louis Jordan, Earl
Hines, and Dizzy Gillespie to Basie. I'm very glad to have finally been
introduced to her because this is an excellent album, ranging through
a set of standards, from Holiday's 'Fine and Mellow' to 'For All We Know'.
Backed by a quartet comprising Jeff Chambers on bass, Noel Jewkes on sax,
clarinet and flute, Merrill Hoover on piano and the delightfully named
Gaylord Birch on drums, the whole band is in great form. Laid back, cool
and knowing this is a treat from start to finish. The recording is spacious,
with plenty of character conveyed in Stallings voice. Sax tones are suitably
breathy, and the percussion crisp and dynamic. What a treat it is to discover
a new artist. I shall now start hunting out her other recordings.
Supplier: Aanvil Audio - www.aanvilaudio.u-net.com
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