September/October, 2010
Various Artists, "A Guitar For Elvis," Solid Air Records 2010
What do you get when you take a dozen great guitarists playing the music of the King? A whole lotta fine
picking! "A Guitar for Elvis" is the latest in a string of excellent acoustic compilations from Solid Air
Records (including the Grammy-winning "Pink Guitar"). What’s not to like? You get many of Elvis’ most famous
and most-loved songs played by people like Laurence Juber, Al Petteway, Pat Donohue, and Doug Smith (to name only 4).
All you miss is Elvis’ voice, but on every song, you’ll find yourself singing anyway. The disc begins in the
capable hands of Donohue, whose rendition of "All Shook Up" gets your toe tapping like when Elvis was shakin’
up on stage. Al Petteway shines on 2 songs – rollicking through "Mystery Train," with power and groove, and
getting funky on "Hound Dog." Benjamin Verdery brings the color of nylon strings to his take on "Don’t be Cruel,"
including harmonics and minor-chord progressions in his introduction. The fine singer-songwriter Brooks Williams
shows his ability to create elegant guitar arrangements on "Love Me Tender." Nothing unexpected here, just a fine
version of this lovely ballad. Kenny Sultan is a blues force on "Heartbreak Hotel," while Mike Dowling lets his
National wail and moan on "Little Sister." On "Can’t Help Falling in Love," Doug Smith beings his signature lush
sound to another memorable Elvis ballad. Laurence Juber takes on a classic from Elvis’ later catalog,
"Suspicious Minds," and makes it work to perfection. Doug Smith comes back on the CD’s last tune with Mark
Hanson on a ripping duet version of "Viva Las Vegas." It’s a great way to leave this tribute to the King. Any
fan of the music of Elvis Presley will want this record.
Rory Block & Stefan Grossman, "Country Blues Guitar," 2008
This archival compilation presents 32 early recordings of Rory Block and Stefan Grossman, in solo and duo settings.
Son House sings on two riveting tracks, "New Pony Blues" and "Yonder Comes the Blues," the latter also featuring
Paul Rowan on harmonica. Even as teenagers, the essentials of Block's and Grossman's styles are apparent, a
testament to their lifelong devotion to acoustic blues. Rory Block plays with a driving beat, influenced strongly
by Son House and Charlie Patton, and singing, as ever, with unquestionable conviction. Grossman chugs along amiably,
if less insistently than Block, demonstrating a solid technique on slide guitar and singing on one tune. Highlights
are Skip James' "I'm So Glad," "Canned Heat," both sung by Rory, ""God Moves on the Water" by Stefan, a guitar duet
on "Mississippi Blues" and the two Son House tracks, for which Stefan provides forceful yet sympathetic
accompaniment. The disc includes the complete 1964 recordings originally released as "How to Play Blues Guitar,"
for which the guitarists often play only a couple of verses of each tune (that record's original tablature booklet
is included on the CD). More than forty years on, these tracks offer pleasant listening and good reference sources
for acoustic blues players.
Ari Eisinger, "The Ragtime & Blues Guitar of Blind Blake (instructional DVD)," 2010
If you're a blues fanatic like me, you may be familiar with Blind Blake's classic recordings, made between 1926 and
1932. If you've heard David Bromberg play "Chump Man Blues," Jorma Kaukonen's cover of "Police Dog Blues," or
Ry Cooder's "Diddy Wa Diddy," then you've heard some of the most popular and faithful covers of Blake. In this
generous 2-DVD set, country blues guitar master Ari Eisinger teaches Blind Blake's solos and accompaniments on
seven pieces, presented in order of increasing complexity. Although Blake's style has been taught and many of his
recordings transcribed in books and on videos by Stefan Grossman and Woody Mann, this set covers tunes not
included in earlier instructional materials. To begin the lesson, Eisinger explains Blake's typical rhythmic
licks and chord progressions in detail. Once he starts teaching Blake's repertoire, the importance of this
introductory discussion becomes clear. Reverend Gary Davis spoke admiringly of Blake's "sportin' right hand,"
with which Blake created his bouncy rhythms (sounding much like early Big Bill Broonzy). Blake's distinctive
sound in fact depends largely upon right-hand attack, which may be the toughest aspect of his music to master.
Fortunately, Eisinger introduces ideas and techniques simply, and then builds on them throughout the lesson,
culminating in "Southern Rag," the challenging closer. As with all video lessons produced by Stefan Grossman's
Guitar Workshop, this set features split screen segments, showing close-ups of Eisinger's left and right hands
simultaneously. The discs also include Blake's original recordings, reproduced in remarkably good fidelity.
Also included is a booklet of transcriptions (also available on one of the DVDs). The only detraction is a small
one -- Eisinger's guitar is not tuned to concert pitch, which is common among solo acoustic guitarists. I
recommend this lesson to acoustic blues players who want more rhythmic variety in their playing and ideas
for playing raggy blues in the keys of C and G.
"Blue Giant", Vanguard Records, 2010
Blue Giant makes its debut with this major label, self-titled release, a fine and thoughtful amalgam of country, pop,
folk, psychedelia and rock. Prior to this project, co-leaders Kevin and Anita Robinson, who composed the 12 tracks,
had gathered a devoted following in the Portland, Oregon, region while performing as a duo, Viva Voce. The Blue Giant
project finds the Robinsons expanding their sonic vision by enlisting several well-known regional artists. The
result glides from one genre to another, and expands the boundaries of alt-country. The Robinsons, married for
12 years, share vocal duties, and Anita provides some searing guitar. Her sweet voice is particularly poignant on
the country ballad, "Lonely Girl," while Kevin’s sensitive turn on "Target Heart" is about perfect. But with their
new stable of able horses, the Robinsons amp it up on the anti-war anthem "When Will the Sun Shine?" and the poppy,
banjo-based "Wesley." It’s bluegrass and boy-howdy time with "Run Rabbit Run," while "Clean the Clock" angles
toward straight-ahead rock. Rounding out the players are Chris Funk (The Decemberists) on pedal steel, Evan Railton
(Swords) on drums, percussion and keyboards, and Seth Lorinczi (The Golden Bears) on bass and keys. Kevin Robinson
is credited with the production. While capable all along the musical spectrum, the band seems most adept on the
sparer, more country-oriented works, like "Gone for Good" (featuring Sleater-Kinney's Corin Tucker). But some of
these well-crafted tunes suffer from a too heavy hand – the multiple instrumental layers and echo effects sometimes
hinder the song from emerging instead of enhancing it. A "less is more" approach might be a future consideration,
but this is a fairly minor quibble. This talented couple has created quite a nice package with a band named after
the brightest stars in the galaxy.
Bill Mize, "The Angel's Share," 2010
Bill Mize's new release "The Angel's Share" opens with a rousing rendition of Ray Charles "What'd I Say" showcasing
Mizes' deft touch and overall sonic panache. Sixty seconds in you know this player has full command of the wood and
steel in his hands! The title track, which follows, simmers to a controlled boil driven by Mize's dynamic phrasing
and vibrato, while his use of caesura allows the melody to breathe and sigh. Listening to "The Angel's Share" is akin
to basking in a perfect summer Sunday afternoon... you just don't want it to end and when it does there is a sense of
satisfaction and the notion that you have just experienced something sublime. Mize's guitar work is center stage
throughout this CD. Beth Bramhall, Mize's better half, sits in on the playful "Puppy Love" on accordion, as does Pete
Wasner with his B3 Hammond on a cover of Charlie Rich's "Feel Like Going Home" and Mize's funky "Might Should." Tracks
four and five, "Might Could" and "Might Should", offer two of my favorite moments on this CD. Back to back they offer
two very cool and different grooves.
Mize's style is at once clean and textured, with much vibrato and an undercurrent of power that percolates through
most of the tunes on this CD. His overall execution is consistently clear, and technically inspiring throughout,
fitting of a former Winfield National Fingerstyle Champion and Grammy Winner. "The Angel's Share" is the first
release from Mize since 2002. A quick check of his discography indicates that Mr. Mize only releases music when
he feels he has something worthwhile. In his press release he states that his "CD's are like cicadas, they only
come along every 8 years or so." Bill Mize is a player's player who has produced another acoustic gem!
Gareth Pearson, "Urban Echoes, Vol. 1," CandyRat Records 2010
You may not have heard of him – yet – but Gareth Pearson from Wales in the U.K. is going to be a player on the
acoustic scene for years to come. Primarily self-taught, his first studio release on Candy Rat Records (home of
other fingerstyle luminaries like Antoine DuFour and Andy McKee), "Urban Echoes Vol. 1" showcases his young yet
prodigious talent. An equal blend of originals and covers, the playing on this disc is powerful, sublime, nuanced,
and multi-layered. The opening cut, "Blue Smoke" (yes, the Merle Travis tune) brings to mind the writer and, more
recently, Tommy Emmanuel, who has actually written a song giving homage to Pearson entitled "The Welsh Tornado."
Exceptional thumb-style fingerpicking as an introduction of what’s to come on the rest of the CD. Pearson covers
the Michael Jackson hits "Thriller" and "Billie Jean", doing more than justice to these great tunes. You really
have to hear what he does with "Thriller" to appreciate it. Pearson even strays into the world of Radiohead with
a cover of "Paranoid Android" with inventive string bends, slaps, and his own brand of band-in-a-box playing that
uses the whole guitar and bass, middle, and treble voices. Besides the covers, Gareth Pearson crafts memorable
songs of his own. "Little Rogue" is a pint-sized illustration of nimble fingers up and down the fretboard.
"Chinese Whispers" reminds me of some of the early Alex DeGrassi playing that first made me fall in love with
fingerstyle playing. It’s a lovely piece. "Every Time We Fall" reveals great playing with violin carrying the
melody, and shows that Pearson doesn’t need to play hot and spicy in order to get our attention. The disc
closes with "Beauty of Discipline," a wonderful conclusion to a CD full of fine songs played by a rising master
of the six-string.
Seth Swirsky, "Watercolor Day," Gimble Records 2010
Seth Swirsky is an experienced pro songwriter who, though he has been kicking around the L.A. music scene for
quite a while, sounds as fresh as fresh tape on an analogue machine. His trademark sound is that of luscious,
orchestrated pop as filtered through Brian Wilson and George Martin. "Watercolor Day" is a variegated daytrip
through so many touchstones of 60s and 70s pop history that I can barely name them all, while calling out
early-Wings era McCartney, The Beatles, Burt Bacharach, 10cc, Tears for Fears, America, and Todd Rundgren,
to name but a few. As a vocalist he favors George Harrison as filtered through the Pet Shop Boys. I have no
idea how an indie guy like Swirsky puts together the armada of backup musicians to pull off such an orchestrated
program, but his string section alone is stunning and cohesive throughout. He plays enough instruments,
including drums to pull off a one-man band program, but "Watercolor" goes well beyond these talents in his
prodigious, organic arrangements. You could call him the current-day master of ooohs. I'm not kidding. They
are incredible. Standout tracks abound, many, like "I Never Knew You, Harry" (Nilsson), "Fading Again,"
"Stay," with its seeming allusion to "Don't Let the Sun Catch you Cryin'" (Gerry And the Pacemakers) are
utterly charming. Rarely does a guy this deep into his career sound like a twenty-something genius, but
Swirsky pulls it off (effortlessly). If you miss the era of "Pet Sounds" or Paul McCartney & Wings, you
must hear this album.
Adam Brown, "Gladios," 2010
Building on the success of his much celebrated 2009 debut album, Adam Brown has recorded his second disc, "Gladios."
While his first album focused on contemporary music, Brown has decided this time to highlight the lovely and diverse
music of South America. The works he selected are a careful balance of the main-stream and the more obscure. In the
case of the more familiar compositions, Brown's technique and interpretations are truly masterful. "Julia Florida," for
example, a familiar work to guitarists everywhere, is so immaculately adorned by Brown with subtlety and nuance that
it will satisfy even the most discerning of tastes. It seems that at no point does Brown restrain himself, exploring
a range that spans the most delicate touch all the way through to rousing blossoms of arpeggiatic flourishes. As the
disc progresses, Brown delves into the syncopated and percussive world of Astor Piazzolla, simultaneously expanding
the tonal possibilities of the South American style and forming a bridge between the more traditional opening of the
disc, and the more experimental second half. Brown closes the disc with one of the most forward-thinking and
prolific composers of our time, Leo Brouwer. "Cuban Landscapes with Bells" perfectly blends the avant-garde and
the delicately beautiful. After an unorthodox and rhythmic climax, it gently concludes Browns disc with an
extended harmonic section that eventually trails off into the distance. It is a unique and satisfying end to
what is truly an excellent recording.
Stuart Robertson, "Years Between Us," 2010
Rainy days and Mondays got you down? If so, you may want to steer clear of "Years Between Us." For those of you
with a happy disposition, this record may alter your state. Stuart Robertson is a confessional singer-songwriter
from Scotland. On a positive note, he is most worthy of comparison to such highly-acclaimed modern troubadours as
David Grey, Rufus Wainwright, Joe Henry, Duncan Sheik, and Belle & Sebastian. Robertson certainly displays a
proclivity for melodrama on his third record (which is self-produced) by way of picturesque lyrics and an intimate,
conversational vocal delivery akin to a young Bruce Springsteen in his quieter moments or Leonard Cohen circa "Songs
From A Room." Audiophiles will appreciate the mastering and mixing of YBU by Geoff Pesche of Kylie, Gorillaz and
Coldplay fame, which was rendered at the legendary Abbey Road Studios. The sound of YBU is nothing less than
extraordinary -- listeners can decipher every note with clarity and a resonance worthy of the almighty medium of
vinyl. Now the bad news: almost every track is either a ballad or a dirge sans at least one memorable melody.
This record is slower than slower than slow. Robertson makes use of space within his compositions which affords
the listener an opportunity to digest his words, however no band member (there are no credits listed on the album
packaging or website) steps up to the plate to offer even a semblance of a counter melody or solo to tie it all
together. Rinse and repeat for ten songs. "Get Me" a sleepy ballad accentuated by a car radio vocal effect in the
final verse is the sort of divine artistry you'd expect from David Gilmour at his best -- however with long
instrumental passages absent of anything harmonically interesting -- it's real hard to stay awake. Two mid-tempo
offerings "Words Into The World" which arrives as the eighth selection, and the opening cut "I Have Been Bad,"
which is accompanied by a confusing video (though the girl is pretty) are the modest high-lights here as Robertson
shows signs of a pulse. Though Roberston is a talented artist, "Years Between Us" would have benefited greatly from
an outside producer adept at creating intriguing, nocturnal albums (Brian Eno, Daniel Lanois perhaps?) or a
musical catalyst in the studio.
©
Kirk Albrecht
Buy it at Acoustic Music Resource
Listen to "Heartbreak Hotel" (Kenny Sultan)
©
Patrick Ragains
Stefan Grossman's Guitar Workshop
Listen to "Crow Jane"
Listen to Stefan Grossman & Rory Block at our podcast 
©
Patrick Ragains
Buy it at Stefan Grossman's Guitar Workshop
Watch an instructional clip of "Baby Lou Blues"
©
Fred Kraus
Buy it at Amazon.com
Listen to "Clean the Clock"
©
James Filkins
Buy it at his website
Listen to "The Angel's Share"
Listen to Bill Mize at our podcast
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "Blue Smoke"
©
Steve Klingaman
Buy it at Amazon.com
Listen to "Summer in Her Hair"
©
Timothy Smith
Buy it at his website
Listen to "Cuban Landscape with Bells" (Leo Brouwer)
©
Tom Semioli
Buy it at CD Universe
Listen to "Forever"
 (Click on image below to buy) |
 The Guitars of Elvis |
 Rory Block in Concert |
