September/October, 2006
Tommy Emmanuel, "The Mystery," Favored Nations FNA 5130-2, 2006
Australian guitar wizard Tommy Emmanuel thrives in the rarefied air occupied by only a select few fingerstyle masters.
Speed, melody, tone, songwriting skill,versatility -- Emmanuel effortlessly displays it all on his 17th collection,
"The Mystery." A child prodigy, he began playing guitar at age 4, learning to play by ear without any formal
instruction. By the age of six, he was already working as a professional musician. Along the way, Emmanuel learned
percussion (on a drumkit, as well as on his guitar itself). Although 11 of the 12 tracks on "The Mystery"
are instrumental, Emmanuel shows off his smooth vocal skills on "Walls," a duet with his partner, Elizabeth Watkins.
Throughout his four-decade-plus career, the world-touring virtuoso has accumulated many awards, including Best
Guitarist (Rolling Stone, 1990); Best Guitarist (Juke Magazine, 1984-1990); three platinum album awards; Best
Country Album (Nashville MusicAwards, 1998); Grammy Nomination (1998); Album of theYear, Thumb Picker of the
Year; and induction into the Thumb Pickers Hall of Fame, Kentucky (2005). If there is a common thread on the
10 tracks penned byEmmanuel, it’s found in a peace and a gentleness that emanates throughout the compositions.
The song titles offer some insight: "Cowboy’s Dream," "The Mystery," "That’s the Spirit," "Footprints,"
"Keep it Simple." Emmanuel proves skillful without being flashy; calm without being soporific; thoughtful without
being pedantic. He remains faithful to the melody, using his exceptional guitar work to support the essence of
the song. Very nice stuff.
Ed Gerhard, "Sunnyland," Solid Air SACD 2057, 2006
Last year I heard Ed Gerhard perform "Still Not Sorry You're Gone", a new composition he had just recorded for this
CD. It was a quirky piece, but fit perfectly with his concert staples, including "Tennessee", "Duet", "The Water
is Wide," and John Lennon's "Imagine". Sunnyland presents 14 blues-flavored performances, doing so with greater
variety than one finds on most self-styled blues recordings these days. Gerhard plays a variety of new and vintage
acoustic and electric guitars, sometimes multitracking them. He dedicates each of seven performances to another
musician, kicking things off with "Avalon Train", played in the gentle spirit of Mississippi John Hurt. On
"Avalon Train", "5 to 99", "Still Not Sorry You're Gone", "Not Blind in Heaven", and other standout tracks,
Gerhard successfully melds traditional approaches with his own approach, which includes pop influences,
dissonance, and emotive chord progressions. A few other selections could have come from the bouncy Kicking
Mule school of the 1970s, including "Sunnyland", (which Gerhard might have easily dedicated to Taj Mahal),
"Little Road" and "Sunday Street Stroll", the latter of which effectively combines Dave Van Ronk's fusion of
early jazz and Piedmont guitar. Another rootsy tune, "Either Way She Walks," shows how good a slide guitar
duet can sound. Gerhard displays his slide mastery on several other tracks, including "Just Can't Keep From
Crying Sometimes", "Night Owl Blues" and "Amazing Grace." Sunnyland is a fully realized thematic work, it's
recorded as well as Gerhard's best earlier recordings and is fully satisfying. Buy it -- and thank him that you can.
Ed Gerhard's Website Buy it at Acoustic Music Resource
Mindy Smith, "Long Island Shores," Vanguard Records, 2006
Mindy Smith’s voice is extraordinary. No matter how often I listen to "Long Island Shores," I feel a little shiver
now and then. Smith’s crystalline soprano somehow manages to have -- at once -- breathiness and resonance, vulnerability
and strength. The only voice I know like hers belongs to Patty Griffin, a comparison I’m sure Smith has heard too
many times. In "Long Island Shores," her sophomore release, Smith shines in settings tailored to her lovely
instrument. There’s a whole lotta love here, and a lotta uncertainty and heartbreak, too. "Edge of Love," a
song with hooks to spare, really stirs the soul. It opens quietly with cymbal taps, arpeggios on the six-string,
and a serene drone underneath. From there, the tune builds. When the chorus finally arrives ("the weather’s fine
oh, oh, oh") about a third of the way through, Smith really comes to life. So does the band, with overlays of
guitar tracks and more drive in the drums. "What If the World Stops Turning" is a straight-ahead love song in an
updated Porter and Dolly duet setting. "You Just Forgot" is one nasty but beautiful gotcha song with some
pointed images. "You Know I Love You," driven by some tasty mandolin, is a standout with its humor, lighthearted
vamp ("you do or you don’t"), wah-wah solo, and old-time swing chorus. The title track stakes out different
ground than any of the other tunes. It serves to explain the entire CD (and Smith’s career): girl from Long
Island finds fulfillment in Nashville. Smith imagines what the family reunion will be like as she readies to
board the plane, unsure whether it will be harder to go back home again or return to Tennessee. She fills the
song with personal details and places them over an Irish melody. The CD closes with Smith at her most
vulnerable praying for "Peace of Mind." She should listen to her album more often. It works for me.
Aaron Brock, "Toccata," Analekta Records AN29853, 2006
Despite all the success, joy, and love this world has to offer, the reality is that tragedy perpetually lurks nearby;
always present, and yet always striking when we least expect it. Although I try to be aware of this threat, I am
still having great difficulty coping with this most recent blow fate has dealt us. How can a brilliant young
musician, in the midst of celebrating one of his greatest artistic achievements, be torn away from this world?
How can a person, whose life was guided by the purity of his heart, be simultaneously destined to die from it
failing on him? This recording is Aaron Brock's first release with Analekta, Canada's largest classical music
label, and due to his untimely death resulting from an undiagnosed congenital heart disease, it will also be his
last. My first impressions of this disc mirrored my first impressions of Aaron, when we met years ago. He can
only be described as a gentleman; graceful, sensitive, and erudite. His musical interpretations reflect his
character, guiding the listener through a deep complexity of emotions while never becoming abstruse or
inaccessible. Many of the pieces Brock selected are marked by broad ranges of musical expression:
"Koyunbaba", at first tacit and meditative, later explosive and outspoken; "Tres Piezas Espanolas", at
times rigid and controlled, at other times wildly scaling across the fretboard; and "Un Seno en la
Floresta", predominantly lyrical and romantic, while interrupted occasionally by mournful whispers of
frustration. Most notable however, is Brock's own composition "Toccata, a Leo Brouwer", which is a
carefully conceived, reflective tribute to the unique compositional style of Leo Brouwer, a prolific
classical guitar composer. Aaron Brock was a young musician with limitless talent and potential.
Although he is no longer with us, his immortal contribution to the classical guitar world will be
heard and cherished for eternity.
Aaron Brock's Website Buy it at Amazon.com
William Lee Ellis, "God's Tattooo," Yellow Dog Records YDR1343, 2006
William Lee Ellis is an artisan of the unadorned back porch school, as befits an avowed student of the Reverend
Gary Davis and the Appalachian sound and mindset he represents. In keeping with that tradition, the production
leans towards the purist camp, allowing for no-reverb vocals and you-are-there string noise artifacts to peak
through the mix. But Ellis himself is not a purist. He branches out frequently, offering a fairly varied
program within the genre. Ellis is not a singer’s singer, but that’s not really the point in his music.
He’s documenting the thing, bringing forward the magic inherent in the material. As a writer he’s very
close to the bones of the homespun spirituals he recovers. Acoustic slide guitar is the core of his sound,
played mostly on a Gibson J45. His format of choice is a concise acoustic ensemble that fits like an old
shoe. He opens with a full band treatment of the co-written "Snakes in My Garden" that seems to spring
fully-formed out of the Robert Johnson milieu in the form of a Texas shuffle driven by a propulsive snare
riffle. "Search My Heart" is a real stand-out on the outing. Ellis’ Eric Clapton 461 Ocean Boulevard era
vocal is complemented by his sometime collaborator Reba Russell to great effect. Ellis offers a nod to the
acoustic Jimmy Page in a brief interlude. All this is layed out over the bones of a Rev. Gary Davis take on
a beautiful gospel tune. Clapton himself would love it. Ellis covers Mississippi John Hurt’s "Here I Am
Lord, Send Me" in a lovely, somber duet with his wife, Julie Coffey. This lovely back porch treatment of a
lovely tune backs up Ellis’ stature as being more than an archivist, while reminding us never to forget Mr.
Hurt. Ellis’ own "Dust Will Write My Name" is the solo stand-out on this disk. The evocatively titled song
lives up to its name in this world-weary elegy. The distance between high and low, here and the hereafter
never seemed too great in the back country mountain tradition, and though Ellis lives in Memphis, his heart
is clearly in the hills.
William Lee Ellis' Website Buy it at Amazon.com
Phil Keaggy, "Roundabout," TAG Artist Group 615-480-8811, 2006
Phil Keaggy is especially known to the fingerstyle world for his Dove Award-winning recordings "The Wind and
the Wheat" and "Beyond Nature." But where those recordings were triumphs of composition, his newest recording
"Roundabout" is more about chops and atmosphere. Although "Roundabout" is also an exclusively acoustic and
instrumental recording, its uniqueness lies in using loops to multitrack his own guitar. Though this method
allows Keaggy to pile brushstroke upon brushstroke for a very rich musical canvas, it does impose some limitations.
Modulation from key-to-key and rhythmic variations are more problematic with looped compositions, but Keaggy manages
to spice things up by cutting and pasting, by using unusual guitar voices, and of course, with searing riffs. Fans
of Glass Harp will enjoy "Roundabout's" emphasis on the guitar solo, Keaggy's true forté. Particularly on "J-loop,"
one of the few tracks which is relatively unadorned by synthesized sounds, Keaggy punctuates the close of the song by
a trademark 64th note sprint up the neck. These moments of stark bedazzlement are sparse, though, and Keaggy's magic
this time around is mostly subtle. "Loop a Loola" and "Merry Go Round" are beautifully mysterious and otherworldly,
a musical surface he's never before scratched. "Roundabout" is very different than Phil Keaggy's previous 50 or so
releases, demonstrating a true artist's willingness to experiment, explore and grow.
Various Artists, "Beyond Six Strings", Harp Guitar Music HGM-CD-001, 2006
How many strings does a guitar have? Six, you say? Well, what about the 12-string made famous by Leo Kottke?
Tenor guitars? The world of guitar has long ventured outside the bounds of what many people consider a "normal"
instrument with a mere six strings. The past two decades has seen a resurgence of historic and musical interest
in harp guitars, which first began to appear in this country at the turn of the 20th century when Knutsen, Dyer,
and the Larsons made and marketed various forms of harp guitars -- those with extra strings usually attached to a
second head, which gave the instrument a plethora of tones and colors. Gibson also got in on the action in those
early days. "Beyond Six Strings" is a terrific collection of tunes by modern impresarios of guitars both old and
new with lots of strings. Three of the players (and the producers) on this CD are well known for their long-time
support for all things harp guitar: John Doan, Steven Bennett, and Gregg Miner, who provides the brief introduction
to harp guitars in the liner notes. The packaging of the disc is top notch, with excellent notes on the songs and
artists, as well as photos of some of the instruments. Each of the players on the disc has a personal love affair
with these instruments. We hear all sort sorts of playing from two-handed tapping on "Emmet's Rising" by Andy
Wahlberg and "The Friend I Never Had" by Andy McKee, to gentle fingerpicking on "Clarsah" by Muriel Anderson on a
custom nylon string harp requinto crafted by luthier Mike Doolin. The oldest instrument is an 1899 Knutsen
played by Miner on "Deserted Island," sounding like a standard OM with some extra bass strings (and looking
like it, too). The tonal palette is stretched to its limits on "In John Fahey There Is No East or West" by
John Doan on a 20 stringed Sullivan-Elliott harp guitar, while Bennett lets the droning deep bass strings ring
on "November" to close a wonderful recording of guitar music, and a must-have for anyone interested in
these fascinating instruments.
HarpGuitars.net Buy it at Amazon.com
Alex Machacek, "[sic]," Abstract Logix ABLX-002, 2006
John McLaughlin is not known to often heap praise on unknown guitarists, so when he does it, you can be sure that
those recipients are destined to dominate the musical landscape of the future. Recently, McLaughlin was quoted as
saying "Alex Machacek's music starts where other music ends. He is playing some amazing guitar on [sic]. He is
going where other people stop. It is so nice to hear." So nice to hear, indeed, especially for fans of
guitarists like Mike Keneally, Allan Holdsworth and Frank Zappa, fans who delight when the boundaries of
technique, meter and composition are pushed beyond known limits. Though classically trained and a Berklee
graduate, it's easy to hear from one listen to [sic] that Machacek's fiery imagination and command of staccato
and oddly-metered Zappa-esque phrasing could never be constrained by the regimented forms of either classical
music or mainstream jazz. And that is very lucky for us... because we at last get to experience a rare
trajectory in the unfolding timeline of music -- innovation. The title track is a little outlandish, with
interjected "wows" and "amazings" uttered between guitar lines by a presumed sound engineer. Regardless
of whether meant to be satirical or a throwback to The Mothers' brand of comedy, the track stands in stark
contrast to the very serious music which follows. "Yellow Pages" features a double-tracked melody of vibes
and guitar reminiscent of Ruth Underwood with Frank Zappa, evolving into a Holdsworthian epic. Machacek
embellishes a previously released tune from Zappa drummer Terry Bozzio's 1994 release "Solo Drum Music" -- on
"Djon Don" he magnificently reinvents the tune by composing multilayered guitar and piano tracks around Bozzio's
difficult drum track. Only by track 7 does the music begin to sound somewhat mainstream on "Out of Pappenheim."
It opens like Mike Stern on steroids until the solo, when Machacek's maniacal side can't help but again take over.
He shows that he can simmer down to quietude, however, on "The Ballad of the Dead Dog," a trio ballad that might
be named as a Pat Metheny tune in a Downbeat blindfold test. Though Machacek's use of electric guitar far
outstrips his use of acoustic on [sic], the playing is so original and virtuosic that even hardcore
acoustic jazz fans should have this one in their library.
Alex Machacek's Website Buy it at Amazon.com
The Zozo Sisters, "Adieu False Heart," Vanguard Records, 2006
There are three sure things in this world - death, taxes, and the beauty of Linda Ronstadt's voice. Whether she's
singing pop, country rock, mariachi or Cajun, it's going to be clear, sweet and packed with emotion. Add Ann Savoy's
talented Cajun style vocals, excellent sideplayers, and Steve Buckingham as producer (Dolly Parton, Mindy Smith)
and darlin', you can't go wrong. Beautifully sparse arrangements with an acoustic guitar at the center surround
each song, putting the focus on their two lovely vocals. While the Cajun numbers are wonderful, the standout
number is the old Left Banke classic "Walk Away Renee." Ronstadt and Savoy take turns with the vocals, starting
with a simple but elegant finger picked steel string acoustic. A weeping violin plays under the next verse then
segues into a gorgeous string ensemble that fills the instrumental section. Another one that'll make you sigh is
Julie Miller's "I Can't Get Over You." Many singers would turn this one into a syrupy song of regret but there's
that trademark ache in Ronstadt's voice … buy her a drink and offer her your shoulder. There are two Richard
Thompson numbers here - Ronstadt singing lead on "King of Bohemia" and Savoy on "Burns' Supper." With a Cajun
flair they sing Bill Monroe's "The One I Love is Gone," tight harmonies and soaring twin fiddles at its heart.
A banjo introduces "Rattle My Cage," making me wonder when Ronstadt's going to make her own bluegrass album. She
sings it so convincingly. Forget about death and taxes for awhile. Get this CD.
Zozo Sisters' Website Buy it at Amazon.com
Jeffrey Foucault, "Ghost Repeater," Signature Sound Records SIG1298, 2005
Ghosts haunt the landscape of Jeffrey Foucault’s latest release. They rise out of the blues ("Wild, Waste, and
Welter"), the Appalachian murder tales ("Train to Jackson") and the back porch picking underlying Foucault’s
songs. They materialize in the atmospheric electric guitar of producer Bo Ramsey ("One Part Love" and many others),
and dreams that bring back old lovers ("the dark beauty of your eyes burn like a fire in the cold"). Their
visitations come like radio signals from ghost repeaters, empty stations re-broadcasting robotic playlists
designed by the soulless ghouls some call marketers. There are spirits here and the premonition of death.
But there is plenty of life in this world for a man who has "been one for sorrow for too long." He’ll search
past the barren frequencies of "the late night FM no man’s land" until he finds a Tom Petty song on his car
radio. He’ll marry and honeymoon ("Americans in Corduroys"), hit the road, celebrate the sweet wedding of a
friend ("Tall Grass in Old Virgininny"), and kiss his new wife in the middle of the street because,
though "nothing is forever, nothing is in vein." He’ll make music that swings joyfully ("City Flower")
with lyrics so precise and so graceful, I could quote any line in any song for proof. He’ll wrap his
lusciously deep voice around every achingly beautiful melody ("One Part Love," for one), play good six
string, and even write songs that ought to be hits on country radio ("Mesa, Arizona"). And he’ll make the
best damn album I’ve heard this year, "Ghost Repeater."
©
David Kleiner
Jeffrey Foucault's Website Buy it at Amazon.com
Vance Gilbert, "Angels, Castles, Covers," Disismye Music 005, 2006
Does anyone need another cover album? The question arose when I learned Vance Gilbert was venturing into the genre.
After all, his last release, "Unfamiliar Moon," showcased his enormous and diverse
songwriting talents. But Gilbert’s gifts go well beyond writing. This set of great, mostly familiar songs is
an invitation to truly appreciate Gilbert’s smooth, soulful vocals, nimble guitar work, and interpretive skills.
The brief liner notes explain the CD’s setlist of formative moments in Gilbert’s musical consciousness. The
original recordings, from the early sixties ("Save the Last Dance for Me") to the late eighties ("Cry Like
An Angel"), influenced Gilbert on the journey to becoming a professional musician. With typical Gilbert
mischievous irony, "Aint Nothing Like The Real Thing" opens this covers CD, with vocals quite a bit like
Marvin Gaye’s real thing ("Fireflies" composer Lori McKenna takes the Tammi Terrell role). But Sean Staples’
rhythmic, inventive mandolin solo prepares the listener to expect the unexpected. "I’m So Tired Of Being Alone"
slows down Al Green’s frenetic version and adds a gospel chorus of Vances. The tune swings, thanks in large
part to Richard Gates’ bass. Staples contributes another terrific solo and Gilbert’s soaring falsetto tops
things off. "Until You Come Back to Me" is Vance Gilbert so unleashed that the closing vamp (with guitar and
scat) cracks him up. If you consider "Save the Last Dance For Me" a romantic song, Gilbert will show you the
pain-near-to-rage of someone who says, "You can smile every smile for the guy who'd like to treat you right...
but don't forget who's takin’ you home." "Heaven Help Us All," ends the set. Sad to say, Ron Miller’s prayer
is as relevant today as when Stevie Wonder recorded it in 1970 ("Heaven help the ones who kick the ones who
got to crawl"). Okay... you don’t need another covers album. But, try "angels castles covers" sometime and you
just might find... you get what you want.
Vance Gilbert's Website Buy it at Amazon.com
Brett Dennen, "So Much More", Dualtone Music 80302-01240-2, 2006
He's doing a fall tour with John Mayer and it's easy to see why. There's no confusing his quirky tenor and groovy
guitar licks with Mayer but there's a soulfulness to his songs that's definitely compatible. The girls will love his
slightly geeky persona too. His words tumble out over folk-pop arrangements where repeated guitar riffs and sparse
drums provide a fun landscape. It's not always exactly what he's saying but how the rhythm fits into the song.
"The One Who Loves You the Most" is a solid love song. In "Because You're a Woman," he's less sure of himself. Keb
Mo plays a smooth slide guitar in the middle. There's an island beat in "Darlin' Do Not Fear." "Someday" rocks out
a bit more than the others, with a reggae style guitar and up front drums. With lyrics so much a focus in his work
it would've been nice to have them in the liner notes. The original bright pastel and watercolor artwork that takes
their place is pretty, though.
©
Jamie Anderson
Brett Dennen's Website Buy it at Amazon.com
©
Fred Kraus
Buy it at Amazon.com
Listen to "Cantina Senese" (mp3)
©
Patrick Ragains
Listen to "Avalon Train" (mp3)
©
David Kleiner
Buy it at Amazon.com
Listen to "Out Loud" (mp3)
©
Timothy Smith
Listen to "Gigue" (mp3)
Listen to Aaron Brock at our podcast 
©
Steve Klingaman
Listen to "Snakes in My Garden" (mp3)
©
Alan Fark
Buy it at Amazon.com
Listen to "J-Loop" (mp3)
Listen to Phil Keaggy at our podcast
©
Kirk Albrecht
Listen to "Don't Give Into Sorrow About Tomorrow" (mp3)
Listen to other harp guitarists at our podcast
©
Alan Fark
Listen to Djon Don (mp3)
©
Jamie Anderson
Listen to "Walk Away Renee" (mp3)
Listen to "Ghost Repeater" (mp3)
©
David Kleiner
Listen to Ain't Nothing Like the Real Thing (mp3)
Listen to "Ain't No Reason" (mp3)
 (Click on image below to buy) |
 Tommy Emmanuel DVD: "Live at Her Majesty's Theater" |
 Phil Keaggy Acoustic Sketches Songbook |
 Ed Gerhard Guitar Songbook |