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Peter Hammill - None Of The Above
FIE9122 Reviewed by DA
Intimacy is the watchword for PH's latest offering, and whilst some musicians choose to lay their music out in front of the listener like some epic film, this CD is more like a BBC play, complete with small sets and a sense of eavesdropping on the characters found within. In part this feeling is helped by Hammill's technique of aiming the lyric directly at the subject of the song, either by referring to the narrator in the singular, or more frequently by use of the word 'you: With the smallest of contributions from other musicians, Hammill uses sparse instrumentation as an adjunct to the lyric, punctuating with a single guitar phrase here or emphasising with a subtle time change there. In doing so, the lyric, the singing, and the music are in three-way symbiosis. When he sings 'It's always me, me, me, with you' on my favourite track: Tango For One', I feel like we've shared some mutual 'friends: There are times in my life when I really wish I'd had the courage to express the sentiments contained within many of these tracks. Hammill succinctly and poetically says it for all of us.
Supplied by www.sofasound.com

Eva Cassidy - Time After Time
BLIX STREET RECORDS 02-10073 Reviewed by RP
Distasteful and often hastily compiled posthumous albums are inevitable. Yet it is only pow, some four years after her death, that I feel an Eva Cassidy CD could be accused of lacking a certain amount of integrity. Obviously, with a devoted following and a finite body of work, there is the temptation to exhume each and every single track she cut. But this post-mortem, an exercise in live and studio mixes, clearly places commercial motives ahead of artistic ones. Ironic, if you consider that when alive, Eva was very much an unspoilt talent free from industry hype. Some of the pop material chosen here simply doesn't always do her justice, including Paul Simon's 'Kathy's Song' and the Cyndi Lauper title track. Where the range and beauty of this powerful and crystalline voice truly excels is in the gospel-flavoured 'Way Beyond The Blue' and Bill Withers standard, 'Ain't No Sunshine', which exude class. The best of Cassidy is heard in these soulful blues numbers, and with the emotional embrace of a traditional plaintive folk song like 'I Wandered By A Brookside', where her intonation, phrasing and vocal modulation rhythmically mimics flowing water.

Elliot Smith - Figure 8
Dreamworks BL48 Reviewed by JH
ELLIOT-SMITH GOES ELECTRIC! Not perhaps the same impact as when Dylan did it, but still, to me and other Smith aficionados this album is a big step away from the purely acoustic past, and into something new. Personally I like it. In fact I like it a lot. The harder more powerful presentation allowed by the electric instrumentation has really paid dividends here, largely because, as with Dylan, it has been added to an already successful performer. This is the fifth album by Elliot Smith and way back in Issue 1 I reviewed his last album XO very positively. This new offering is even better. Still retaining the quiet vocal delivery with excellent tunes, this album is, in places, more upbeat than the previous offerings, and even has you humming along (horribly out of tune if you're me) after a few bars of each track. I have always felt that Smith is trying to make sense of the world through his song writing, and I think with Figure 8 he is getting closer, with even more acute observations than before. Figure 8 is a very fine album, one that builds on the past but also adds new elements which open this artist to a wider audience. It should ensure even more well deserved success for Elliot Smith.

Jimmy Page & The Black Crowes - Live At The Greek
TVT2140-2 Reviewed by DA
'Celebration Day' is the opening track on this double CD, and it couldn't be a more appropriate choice. The gig was a party in honour of Led Zeppelin, and Jimmy Page is the guest of honour. This is no black tie affair though, the booze is in and everyone's getting down. Celebrating not only Zep but also their influences, Page and the band storm through the set list with abandon. Zeppelin anal retentives are going to hate this album, as the material is enjoyed, not revered. In my opinion this approach is preferable to the recent slew of po-faced tribute albums. Led Zeppelin 2 and Physical Graffiti are the favoured material, but songs are drawn from elsewhere in the Zeppelin catalogue, and there are even additional non-Zeppelin songs, including a powerful version of Fleetwood Mac's 'Oh Well: As The Black Crowes are a six-piece band, the extra musicians allow the live experience to be much more fleshed out than the power trio + vocals of the original band. Comparing the album to the recent BBC Sessions is interesting, the latter being sparse but intense, whereas Live At The Greek is lighter but richer. The recording quality isn't the best, but the music shines through, and that's what counts in the end.

King Crimson - the construKction of light
Virgin KCCDX2 7243 8 4926120 LC03098 PM527 Reviewed by DA
Robert Fripp, guitarist and mainstay of King Crimson can appear obtuse in the extreme to the casual observer, and with this album he is musically charting a parallel course. If you thought the previous studio outing Thrak was hard work, then this one is the London Marathon. In fact I believe a better title would have been 'the de-construKction of music'. Making no compromises towards the listener, the band break down familiar Crimson themes and structures and reconstitute the fragments into a format that frequently has little discernible tune or melody. The 'rhythm section' rarely operates as you would expect from a rock album, and the guitar patterns that were used so successfully on the three 80's albums are turned inside out, making them spiky and uncomfortable. Embracing the tenet that an artist can choose to challenge his audience carries with it the risk that many will not wish to take up said challenge. As I've long been an acolyte in the court of the crimson king, I made the effort and found it a satisfying, but uncomfortable, experience. If you are thinking of picking up the gauntlet, be warned. This is a slavering Rottweiller of an album. It can be trained, but approach with extreme caution.

Dave Koz - The Dance
CAPITOL CDP 7243 49945827 Reviewed by RP
Dave Koz reminds me of the mainstream activities perpetrated by Dave Grusin during the 1980s, when a fusion of MOR, Jazz and Pop produced soundtracks like that for Tequila Sunrise. The Dance shares those very same candy floss qualities -sickly-sweet and synthetic to the taste. This ephemeral contemporary jazz confectionary is eminently accessible, makes best use of its protagonist's talent on sax (he'll never be a Colossus) and notably distinguishes itself in the technical department where Pete Mokran's mix at the Conway Studio, Hollywood has that sparkling hypnotic blandness one expects from Tinseltown. Alongside Koz's own songs is a suitably sugary arrangement of 'Careless Whisper' - backing vocals and all - it cuts a fierce contrast with LA's seedier underbelly on which George Michael will forever now be judged. But I seriously question whether this juxtaposition was intentionally delivered, Koz is too diplomatic to have consciously gone to that place. However, beefing up any production does take a good deal of thought. Spanish guitar, trombone, vibes, trumpet and flugelhorn raise the temperature in strictly musical terms and their finely etched HDCD resolution greatly compensates for an absence of compositional inspiration. .

Calexico - Hot Rail
City Slang 20153-1 Reviewed by JH
Calexico is a town on the Californian - Mexican (get it? Cal - exico) border. No, Calexico are really two guys who seem to be able to play a wide range of instruments, and even manage to make good use of the accordion, a rare occurrence. Well which is it to be? Actually its both and the two blokes that make up Calexico the band have recently released this album which seems to be a description of Calexico the town, or the soundtrack to an ambitious border hopping road movie. It all starts out with some Mexican trumpeteering which follows through into many of the subsequent tracks, producing a Spaghetti Western feel. Think The Good the Bad and the Ugly and you'll be spot on. So there is more than a hint of Moricone influence. But don't get the wrong idea, although the Mexican Tijuana influence is always present, it is often subtly applied as the album covers a very broad range of styles, from pure Spanish guitar instrumentals to some harsher modern urban music, accompanied by the lead singer's modern indie / LoFi style vocals. Having bought this album, I am extremely pleased. It is nicely varied, but with that underlying influence to hold it together into a single coherent whole. A good effort.

Yo-Yo Ma - Solo
Sony SK 61739 Reviewed by SG
Solo is a disc of unaccompanied, 20th-century, cello works that draw from musical traditions from around the globe. Ma's playing is always impressive. These far-flung pieces are played with profound feeling - especially Wilde's The Cellist of Sarajevo' - written to acknowledge the heroism of a cellist who, each day would play on the spot where twenty-two people had been killed by a grenade. Ma is superb at balancing innovation and tradition. He is convincing, whether dealing with O'Connor's 'Appalachia Waltz', or lifting heavenly tones from the ancient east, in Sheng's Seven Tunes Heard in China. In all, Ma shows that the greatest influence on a composer's music can be the feelings, sounds, and styles from his/her roots. The music is backed by a totally appropriate sound, whereby the cello is staged in the centre, with plenty of warm reverberation from the hall. Tones are spot-on, and the size of the instrument is correct - this is definitely not a violin being played! Whether bowing or plucking, there is always enough detail in the sound to support the emotion and flow of the music. This is an intensely expressive album, which can stir feelings inside that have stayed dormant for years. It is a truly moving experience.

Nanci Griffith - Flyer
MCA 11155 Reviewed by RP
Inexplicably this is one of those albums that somehow has, until very recently, simply passed me by. Fifteen beautifully crafted songs, as ever with Nanci, effortlessly traverse a fragile boundary in taste between pop music and the country scene. Its folk and Irish resonances (particularly heard through lucid arrangements for fiddle and mandolin) are the irresistible sweetmeats which make such a striking contrast to a deep seam of loneliness in 'Goodnight To A Mother's Dream or those lukewarm lovers of 'Say It Isn't So: Yet, these instrumental and harmonic textures appear almost as an adjunct to a skilful lyricist's vision. The art is to take possession of mundane or even inconsequential images and use them to probe and pick over emotional bones until a human condition is exposed to view. This remains true of both Griffith's own contributions and her instinctively strong choice in covers. Here, it's Julie Gold's gentle, melancholic observations of 'Southbound Train', where lines like "My heart is on the baggage rack / It's heavy as can be / I wish that I could find someone / Who would carry it for me / Just to pay it some attention / And handle it with care / Because it has been dropped / And is in need of some repair" perfectly complement Nanci's impeccable ear for a brilliant turn of phrase.

Smog - Dongs of Sevotion
DC169 Reviewed by JH
This album was bought on the basis of a short listen to the amazing second track, 'Dress sexy for my funeral: The songs sentiment and topic is described by the title and it intrigued me. So was the rest of this LP of equally high quality? Fortunately it was. Lyrically clever and deep, sounding like Transformer man Lou Reed together with plenty of Leonard Cohen influence, it's also reminiscent of another favourite of mine, the Tindersticks. There is plenty of emotion, although the slightly deadpan largely spoken vocal delivery will never over emphasise this. The songs can seem almost depressing, although like Cohen at his best, the feeling of triumph over adversity and the need to keep fighting is also present, and that can make the songs uplifting. The music behind the words is generally slow paced and sparse, with musical yearnings from country through blues and rock. It is ail so much more varied than I expected with pianos, synths, drums and guitars featuring across the album, although with such sparse instrumentation, each track is allowed to develop it's own individuality. Overall this is an unusual but very good album that is well worth checking out.

LTJ Bukem - Journey Inwards
Kinetic-Reprise Reviewed by MM
LTJ Bukem has been an architect of the drum-n-bass movement since its birth in the late 80's. Now he cuts all of his skills into the grooves on Journey Inwards, his first full-length album. The two CD set works as a compilation, seamlessly blending disparate dance sounds, yet staying true to Bukem's singular vision. 'Sunrain' is a splendid fusion of classic 80's synthesizer riffs, tight bass lines and Chaka Khan-like vocal styling. 'Watercolours' opens up with ethereal voice synths and shakers panning across the soundstage, then the sonic landscape is slammed with rickety drum clicks, driving bass grooves and incredibly airy saxophone chords. 'Point Of View consists of nothing more than a few simple string arrangements, yet manages to evoke strong musical emotion and energy. This CD is what the always evolving electronic scene deserves. A well crafted record of pure sonic excellence. Actual instruments are solidly mixed with artificial loops and samples. The midrange is rich and full, with no techno-induced congestion. The highs articulate great detail and possess true organic textures. But be prepared, this album's bottom end necessitates a to fully appreciate it's magnificence. Journey Inwards is just that, a journey. If you want a crash course in the finer elements of electronic music this is it Bravo LTJ, bravo.

Badly Drawn Boy - The Hour of Bewilderbeast
Twisted Nerve TNXL LP133 Reviewed by JH
This review was going to be a piece of the proverbial, right up to the point that Badly Drawn Boy was nominated for the Mercury prize. Now the whole tenor has to change. Suddenly this will be seen as an "important" album (whatever that means) and Mr. Boy, hat and all, is right there in the limelight. So is this album the best of 2000? Should it have won the Mercury? Well to be honest I don't know, and I don't care. And that's because I think this album is really good, regardless of how many prizes it wins. Filled with lots of short masterpieces, many of which are instrumentals and acoustic at that, this long player demonstrates real skill and depth. A LoFi, stripped bare recording and very simple underproduced sound match the initially simple songs, whose careful tunes and rhythms are actually mixed together in an easy to appreciate yet complex manner. This acoustic work frames the boy as he deliverers some well thought out, straight from the heart lyrics (and this wouldn't be LoFi if the vocal delivery wasn't a tad flat and slightly lifeless). Badly drawn boy, the prat in the hat? No not at all. A modern day Nick Drake? Probably not, but excellent all the same.

Les Nubians - Princesses Nubiennes
Omtown OMCD-45997 Reviewed by MM
Princesses Nubiennes is a luscious combination of French hip-hop, r&b, jazz and wholesome lyrics. 'Demain' is a smooth r&b. tune, full of sultry choruses and riveting bass lines. 'Taboo' is a rendition of Sade's hit single 'Sweetest Taboo: Though completely in French (along with 98% of the album) this version possesses a fully bodied texture, both melodically and lyrically that clearly surpasses it's UK predecessor. The track also includes a few French rap verses. 'Makeda' is full of lyrical complexity which, thanks to my former co-worker Rustem Ertegun, son of the legendary Nesuhi Ertegun (co-founder of Atlantic Records) I was able to have translated into English. The words speak of society distorting facts in order to make us forget the atrocities that occur. How historical figures gave up their lives in order to expose the truth to the masses. The song pleads for us to grasp knowledge and virtue, and in turn re-write the wrongs. Thumbs up to all co-producers on Princesses Nubiennes. This CD's sound is seductive and tasteful. The spaciousness between instruments is sublime. Bass lines exert great punchiness, yet are focused and clear. The vocals are sweet and centered, not to mention downright sexy. Les Nubians have created a unique sound that exemplifies music as a universal language.

Pasion Canyengue - Los Primeros Pasos
PC 2000 Reviewed by RG
Tango has suffered in this country from a ludicrous nudge-nudge reputation and the giggles that go with it, an unfortunate state of affairs that has consigned it to a walk-on part in bad comedies and silent movies. Not so in its native Brazil, where Tango isn't just a culture, it's a way of life. And with Flamenco finally gaining some artistic ground, it's high time that we started to take Tango seriously too. Pasion Canyengue is a five piece Anglo/Brazilian band that plays in the traditional Canyengue style, even down to their insistence on a bandoneon rather than the more familiar accordion. The recording consists of a dozen 'standards' and serves as the ideal introduction to this music, whilst its lack of technical trickery and rather basic technique is an absolute boon. The result is a rendition that might want for balance and perspective (the violin is rather over voiced) but which lacks none of the passion, vitality or rhythmic drive that's so important to this music. Standout track is 'Oblivion, whose haunting melody is arranged here for violin. The playing is beautiful, both technically and stylistically, with no stiffness or intruding classicism. In fact, the whole disc has an authenticity that brings the music to life. Latin dance: why bother with Ricky martin when you can have the real thing?

Percussion Discussion Africa - Omubala - The Story
FAR & WIDE MUSIC Reviewed by RP
Out of Uganda's recent turbulent past comes a joyous celebration of its folklore, animistic beliefs, ceremonies and wise teaching that revives a flagging oral tradition of storytelling in an age where the pervasive tendrils of a Western multi-media threaten cultural emasculation across the globe. This atmospheric album (evocatively sung by Michael Musoke in the tribal dialects of Luganda, Lukonjo, Lugosa, Runyoro and Teso) goes on to explore an indigenous heritage through its fusion of Latin-jazz rhythms and an inspired African slapped-skin beat at the hands of Uganda's very own conga-master, Omwana We Nsenene Ssewanyana (Sewi). From the colourful tribal greeting, Twabalamusa', and a symbolic 'Saalu', (Hyena), with its underlying message about exploitation; to an instructive marriage folk tale, 'Layaye', that emphasises the value of forgiveness, or simple praise offered up by a tribe in appreciation of their favourite food in 'Elooke', (Green Banana), there are frequent moments of wonderful clear-sightedness which we would do well to heed before assimilation of another vibrant culture occurs.

D'Angelo - Voodoo
Virgin 7243-8-48499-24 Reviewed by MM
Well known for his contributions to soundtracks, his collaboration with Clapton and his well received debut album Brown Sugar (1995), D'Angelo has been keeping a pretty low profile. His earlier work encapsulated the grand r&b sounds of years past, and was a huge hit amongst gen-Xers and old skool r&b fans alike. On that first album he was the performer, producer, arranger, and composer, and five years after that break into the mainstream, D'Angelo delivers an urban tour de force with Voodoo. In an era where r&b and hip hop are inundated with 'booty' and 'gangbangin' Voodoo harks back to the roots of Black pop, while incorporating a fresh ruff sound, again manufactured by D'Angelo himself. The musical landscape is a culmination of pounding bass lines, electric piano riffs, and rickety drum clicks. There's plenty of horns, and layers upon layers of slippery vocals. The album is well produced. There is a great sense of space between singers and musicians (though it sounds like the studio's live room was a small one). The bottom end can be a bit murky at times, but for the most part it is well articulated. On most tracks the vocals almost overlap, simultaneously evoking congestion and intimacy. This record could very well spark a new wave within the pop industry as it thumps through your listening room.

Jazz Music

Barb Jungr - Chanson - The Space In Between
Linn AKD129 Reviewed by DD
Hands up if you've heard of Barb Jungr before? Me neither, but there's nothing I like more than finding something new to love. The set is geared around songs that are heavily European (rather than American) in influence, and includes numbers by Jacques Brel, Jacques Prevert, Leo Ferre, even Elvis Costello ('New Amsterdam'). A couple of honorary Americans creep in by way of Cole Porters 'I Love Paris' and Yip Harburg's 'April in Paris' but given the themes, that's fine. Jungr wrings every drop of emotion from each song, her slightly husky voice lending itself beautifully to this music. Backed by a fine band, notably Russell Churney and Simon Wallace on piano, Julie Walkington on bass and Kim Burton on accordion. The recording is excellent. Jungrs voice is perfectly captured with real presence, the bass, piano and particularly accordion are very much 'in the room', and the whole thing has a warm, natural glow that is so right for the material although I thought the bells , in 'Sunday Morning Saint Denis' sounded more like struck bedpans. Many of the songs are pretty powerful and theatrically presented in a way that won't appeal to everybody, but as Julian Clary says in the sleevenotes: 'Barb Jungr is a one woman emotional enema and not for the faint hearted'. I say, light that Galloise, sip a Ricard and go for it!

Billie Holiday - Lady In Satin
Classic Records/Columbia CS8048 Reviewed by RG
Regarded as something of a lightweight album when it was released (rather like Ella's Cole Porter Song Book reviewed in the audiophile section), this marked something of a departure for Holliday, and if it's not exactly upbeat, then neither does it plumb the depths of despair so often associated with this singer. Of course, since those days the notion of what constitutes "jazz singing" has broadened considerably (in no small part because of albums exactly like this), and songs like 'Violets for Your Furs' and 'I Get Along Without You Very Well' are now considered standards. So whilst this isn't a classic Holiday album, it's more accessible than most and constitutes an excellent starting point if you're new to this most distinctive of voices. The pressing is up to Classic's normal excellent standards, and if the recording doesn't match the warmth, detail and presence of Verve's best, then it's not too tar behind. Her familiar gravely rasp is slightly smoothed and distant, stepped back into a coherent soundstage, along with the orchestra. I like the arrangements, and the slightly contrived instrumental solos actually work rather well. Not strictly an album for purists then, but if you're so much of a purist that it prevents you enjoying this, then you need to lay off the scourge and ice-cold showers. Me, I'm perfectly happy thanks.

Lew Del Gatto - Katewalk
Naxos Jazz 86058-2 Reviewed by DD
Formed 6 years ago, the Los Angeles Jazz Quartet, as their name might hint, play mostly around their hometown, although they ventured out of the States and toured France in '98. Each member has an independent musical career, their drummer regularly working with Art Pepper's sometime partner, Milcho Leviev, and the band is about solid interplay rather than virtuoso pyrotechnics. Running through a selection of self-penned compositions along with their interpretations of a few standards including 'Round Midnight', and a particularly crafty take on Kern's 'All The Things You Are' entitled 'All Things Waltz', this is an unflashy but thoroughly enjoyable set. The latter number is a sly reworking of this hoary chestnut, and the more than well-known tune only really begins to emerge along with the solo's some way into the number, and after a time change from 4/4 to 3/4. The recording quality is crisp clear and spacious. Not quite in the league of the Nock, Ehrlich release reviewed elsewhere, but good nonetheless. My one tiny criticism of this very enjoyable set is that it's a little lacking in character, but at the bargain price you'd be right to call me churlish.

Antonio Forcione - Live!
Naim cd054 Reviewed by DD
And about time too! Much as I admire Forcione's studio recordings, this is the first time I feel the 'whole man' has been captured. Recorded at The Vortex, London between the 16th and 18th of March this year, you are there, in the best seat in the house (third row, centre?). Ranging from choppy, dynamic numbers like 'Acoustic Revenge' to lyrical delicate pieces like the emotive 'Sereno' every note (and whether Forcione is using nylon, or steel strings), every nuance of his playing is crisp and clear. And whilst this is technically a fine recording, most importantly, the emotion of his playing is captured. And it's clear he's having a great time, the set includes an outrageous -try and imagine this if you can - version of 'I Heard It Through The Grapevine' where since overdubs are not an option, Forcione seems to have sprouted an extra pair of hands. Forcione is joined by Rony Barrak on tabla for another stand-out number 'African Dawn', a real smile maker if ever I heard one. As the sleevenote says "There is a special magic, an intimate vibrancy which is impossible to recreate in the studio... Here is some food for thought without any additives, sugar or preservatives. Enjoy."

Fred Simon - Dreamhouse
Naim cd044 Reviewed by DD
His name was vaguely familiar, but only when prompted by the sleevenotes did I recall that I'd seen it on the Windham Hill release Usually / Always. It turns out that Simon's been around the scene for almost thirty years performing live, recording and writing for film and TV and has over 8 releases in his name. Sometimes I feel so remote in Winchester! Simon fronts a trio that also comprises Kelly Sill (who's worked with Art Blakey, Hank Jones and Joe Henderson amongst many others) on bass, and Sarah Allen (a wide ranging musical career including spells with jazz, folk, pop, theatrical and classical ensembles) on drums. The set chiefly comprises Simon's own compositions plus Hill and Robinson's standard 'Old Folks'. This is a delightfully cool, laid-back album. It's not about breaking barriers or challenging pre-conceptions, it's simply about highly enjoyable music making. It's the perfect late night chill-out. Even the faster paced numbers have a gentleness about them that I find very soothing. The recording is up there with Naim's very best, and the sense of the recorded environment is very well captured - the album was recorded in Union Church, Hillsdale, Illinois - with the drums set well back in a spacious environment.

Ugetsu - Cape Town Blues
Naxos Jazz 86052-2 Reviewed by DD
Inspired by Art Blakey's Jazz Messengers (the bands' name comes from a Jazz Messengers album title) and was formed by bassist Martin Zenker in '96. Four years and four CD's on, their music has developed considerably and the band is now well established on the jazz scene, playing festivals and concerts around the globe. The set is entirely self-penned with contributions from trumpeter Valerie Ponomarev, Tim Armacost (tenor sax), Adrian Mears (trombone), and Rick Hollander (drums). The standout track for me is Mears 'Down the Back of the Garden' which opens with some great brass ensemble work before breaking into some fine soloing, in particular from the composer. This number does demonstrate the Blakey influence but still shows development, sounding entirely contemporary in its propulsive style. Another highly enjoyable number is the title track 'Cape Town Blues' where the bands enjoyment clearly comes across as they race through a series of solos, including some great tenor work from composer Tim Armacost. The recording is a bit lightweight in the percussion and bass, lacking a little in weight and drive, although the rasp, spit and breathiness of the horn section is well caught.

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