November/December, 2018
Antoine Boyer, "Caméléon Waltz," 2018
Antoine Boyer's current release Caméléon Waltz is an eclectic collection of twelve short but passionate performances played with intensity, grace, and precision. Half of the album is devoted to dazzling interpretations
of selected masterworks, while the other half contains carefully crafted originals. A child prodigy, Boyer won the "Saga Django Fest" award in the Gypsy jazz category at fifteen and then the "Revelation 2012" award by the
French magazine "Guitarist Acoustic" the following year. As the title of this offering suggests, like a chameleon, the artist is able to change colors or musical pallets depending on the compositional demands of the piece.
This album explores territory substantially beyond Boyer's gypsy roots. The recording begins with Bill Evans iconic "We Will Meet Again." This heartfelt tribute wonderfully captures the essence of his heroes meditative and
reflective playing. Boyer has a very pianistic approach to his instrument eliciting complex fingerboard harmonies with intricate single note excursions. Echoes of the great Django Reinhardt can be heard on the original
"Morning Birds," with incendiary chromatic runs and arpeggios embellished with Django's trademark vibrato. "Road Trip" is a tour de force, starting off with dramatic folk strumming, then segueing into a blues tinged passage
and ending with wild arpegiated riffing. Perhaps one of the most unique performances on an album of many unique performances, is Boyer's wonderful interpretation of Scarlatti's Sonata K. 113, a complex composition in binary
form. The guitarist masterfully and impeccably performs the intricate chordal movements and elaborative harmonies without resorting to the use of overdubs. For those with pop sensibilities Boyer offers great readings of the
Beatles "Norwegian Wood" and Paul Simon's "The Sound of Silence." Antoine Boyer's Caméléon Waltz is an extraordinary recording with wonderful compositions flanked by immaculate performances. Boyer is a prodigious talent,
with a broad scope of musical abilities, and this album is highly recommended for all fans of contemporary music.
Laurence Juber, "Touchstones," 2018
Since the 1990s, Laurence Juber has created a body of solo acoustic guitar work that encompasses both instrumental interpretations of pop music and original compositions. His newest album, Touchstones, is a chronological survey of
important works for solo guitar, with pieces ranging from the sixteenth through the early 20th centuries. Juber plays several steel-string guitars on the recording, mainly utilizing an 1893 Martin 1-21. The first track,
"La Bernardina," composed by Joaquin Des Pres and first published in 1507 in a version arranged for the lute, features counter movement and a brief key modulation. The Spanish "Pavana" (originally a stately dance)
continues in a similar vein, but with a longer melody line than "La Bernardina" and interplay between the melody and bass voices. Alonso Mudarra, the first composer to publish music for the four course Renaissance
guitar, is represented here by "Romanesca," which uses the passamezzo antico chord progression, familiar to today's listeners in "Greensleeves" and "Stairway to Heaven." Both "Romanesca" and "Recercata" include what
Juber calls quasi-improvisational variations. "Queen Elizabeth's Galliard," by English lutenist and composer John Dowling, is another piece inspired by a dance form. Robert de Visée's "Prelude in D Minor" provides a
glimpse of music played in the court of Louis XIV. Juber returns to the music of Spain with Gaspar Sanz's "Folias," which bears some similarity to the earlier Italian pieces and includes a passage reminiscent of
Monteverdi. J. S. Bach's "E Minor Bourée" elicits some familiar references, since Chet Atkins recorded the piece and Paul McCartney often mentions that he and George Harrison learned part of Atkins's version and
that it later inspired McCartney's "Blackbird." Juber cites a manuscript in the British Museum for the anonymous "Divertimento." Giuliani's "Sonata Op. 15" recalls some of LJ's own compositions for solo guitar.
"March from Cendrillon (Cinderella)" is from a ballet composed by Fernando Sor, while Luigi Legnani's "Caprice No.7" is a virtuosic showpiece, probably inspired by the composer's friendship with Paganini. "An Malvina"
is a 19th century German tone poem written for guitar. Henry Worrall's "Spanish Fandango" was performed by Mississippi John Hurt and folk revivalists, including Mike Seeger, and strongly influenced the development of
fingerstyle guitar in the United States. "Under the Greenwood Tree" was composed by American Vahdah Olcott-Bickford (1885-1980), who taught her guitar students to play with the pads of their fingers (as Juber plays,
coincidentally), rather than with nails. The album ends with William Foden's "The Capitol March," a piece from 1920 which recalls both ragtime and the marches of John Phillip Souza. Touchstones is a window into key
elements of Laurence Juber's musical development and compositional influences. The album broadens the range of his recorded work and provides great listening. Guitarists will also want the folio of transcriptions
from Touchstones, which is planned for publication in 2019.
Tim Thompson, "Revved Up," 2018
You may not have heard about Tim Thompson – a common name which doesn't exactly stand out – maybe the accountant who lives down the street? Then you hear his guitar playing and realize he is the 2008 National Fingerstyle Champion,
has recorded 8 CDs and 2 DVDs, played with some of the world's biggest guitar names, and whose playing seemingly knows no bounds or genre limits. He is a well-known Nashville guitarist, and plays in a dynamic duo with
his son Myles on violin. This CD, Revved Up," is filled with jazz, pop, rock, folk, with covers of several well-known tunes like "Eleanor Rigby" by the Beatles, the jazz standard "Caravan," and the sweet "Wayfarin Stranger."
It doesn't matter what style or genre Thompson plays – his deft fingers and inventive arrangements sweep you into each song. His version of "Caravan" is a wonder with two parts working seamlessly together, along with some
tasty percussion. Things slow down somewhat for the next track, "Wayfarin Stranger," recorded by hundreds of players, yet Thompson is able to infuse it with signature touches to make it his own. "Down and Dirty" brings to
mind the playing and melodic sense of Tommy Emmanuel. The Steely Dan hit, "Josie" begins with some serious arpeggios, then swings through that song with funk and groove. He even has a version of the high school band
chestnut "One Note Samba," playing at times blistering single note runs over swaying chords; it's a fun Latin tour. One of the greatest songs on the CD is "The Flintstones Theme," propelled by a driving, almost
metal-like bass line on his thumb, fingers crushing out the melody with chordal accents. It's a gem. The twelve songs on "Revved Up" are all high quality guitar playing, and if by now you haven't heard about Tim Thompson,
you should pick up this CD and give it a listen.
Sean Shibe, "softLOUD," 2018
When I began studying the classical guitar in the 1980s, my teacher, and any other classical guitar teacher I knew, exclusively played classical guitar. However, when it came to my generation, and even more so for
the millennials that followed, we tend to explore a dizzying range of styles through an arsenal of classical, steel-string, and electric guitars, as well as through various amps and complex pedal boards. These tools
open us up to thrilling and limitless world of sounds with which to experiment and create. We've worked so hard on our technique and we've become exceptional guitarists, so it's unsurprising that many of us will apply
our skills everywhere that we can. In the meantime however, I feel classical guitar recordings haven't reflected this evolution. I know of many guitarists whose classical CDs lack any evidence of their other
non-classical interests and pursuits. Why must classical guitar be so insular, presented independently from everything else? Enter guitarist Sean Shibe with his most recent album: softLOUD. A younger guitarist,
Shibe has been affected profoundly by the recent global political climate, particularly the bi-partisan conflicts felt in America, and the uncertainty of living in the U.K. post-Brexit. Despite being a world-class
classical guitarist, the core repertoire simply couldn't satisfy his need to express his feelings of uncertainty and disillusionment. His response was to create softLOUD which is a pairing of both classical and
electric guitar works, all handpicked by Shibe to reflect this turbulent chapter of his life. The first half of the disc is the 'soft' side, comprising a captivating selection of touching traditional Scottish works,
dating back to some of the earliest manuscripts available. The recording then moves on to arrangements of two modern works by Scottish composer James MacMillan arranged for classical guitar, which place modern lens
on the Scottish tradition. The 'LOUD' selections open with the iconic Electric Counterpoint by Steve Reich, one of my personal favorites, of which I've listened to Pat Metheny's rendition countless times. One might
wonder if this work would allow much room for personal touch, however Shibe presents a unique and exciting interpretation; in particular his use of attack and tone help express the complex emotions that inspired this
project. 'LAD' by Julia Wolfe was originally written for 9 bagpipes, and it translates well onto the electric guitar, maintaining its complex, tortured presence, and possibly enhanced by the addition of the electronic
sustains. Finally, 'Killer' by David Lang completes the emotional journey with a whirlwind of disjunct melody notes supported by a thudding, repeated bass line. Despite being known best as a classical guitarist,
Shibe has dared to push the instrument forward, fueled by his need to express a message that simply couldn't be told on nylon-strings alone. The pairing of classical and electric guitars offers a unique and
complete experience, and I hope that Shibe's shining example will help inspire more guitarists to make similar albums.
Cary Morin, "When I Rise," 2018
Cary Morin's 2017 release, Cradle to the Grave, leaves off with "Watch Over Me," an aching plea backed by his equally expressive acoustic fretwork. The title track of When I Rise, continues that thread as the perspicuity
of Morin's voice mixes with simmering Americana blues, pulsating with bass and harrowing harp, while an electric guitar punctuates and accents the message of redemption and resurrection. Morin knows his craft well and follows
with the jazz infused "Let Me Hear the Music," taking us back to Harlem of 1930's and 40's where he allows Dexter Payne's clarinet to take center stage. With one listen to track #3, "Sometimes," with its penetrating pounding
heartbeat-like acoustic rhythm and Morin's vocals cutting through with urgent resonance, it becomes obvious that Morin is at the peak of his artistry and craftsmanship, both in terms of musicianship and songwriting.
His lyrics express an opportune but cautionary essence with veiled optimism about the human condition:
"Sometimes the error was right up front didn't even try to hide /
Sometimes the air of deception he wears with hopeful pride /
Sometimes we forget our unfair advantage /
We could better off if we had only tried /
Sometimes you can do whatever you want the world is so unfair /
Sometimes you feel the uneasiness is everywhere /
We could be better off (I'm working it out) /
We can work it out if we only try /
Sometimes the words disturb a perfectly perfect day /
Sometimes I wake up I don't want to hear a thing you try to say /
Sometimes I mourn for a loss /
We'd be better off if we'd only try sometimes."
The abrupt end of "Sometimes" is followed by the wailing electric intro of Robert Hunter and Jerry Garcia's "Dire Wolf," which evolves into a plea for human kindness and empathy lyrically, while the musical undercurrent
pulls at the listener with the force of a river current. The listener can't help put give into the delicious mix of guitars, pedal steel and piano. The CD continues in this vein, lifting us up only to knock us back down
or sideways with moments of beauty and introspection ("My Memories of You"), gritty swampy blues ("Jug in the Water" and "Lay Bay Lay"), and anthem like pop-infused rock and roll ("Carmela Marie)." Once you put this CD in
your player it is going to stay there quite awhile, I can attest to that. The voice, the musicianship, the pristine production, and, perhaps most importantly, the songs will nestle down inside your heart and find a way
into your consciousness. Morin's fretwork, electric and acoustic, serves as a rock-solid foundation to Morin's voice and lyricism, his uncommon versatility showcased with tasty finger-style on "My Devoted One" and the rambunctious cover of Duane Allman's "Little Martha."
Morin is part of a new breed of post-modern bluesmen that includes the likes of Keb Mo and Eric Bibb, with a repertoire laced with solid blues originals and interpretations. His style and influences range from the Delta
Blues to jazz, folk and rock. "Roots music" is another legitimate banner under which Morin's body of work fits quite well. Then again, those categories seem to fall a bit short for this "bluesman." Listening to his
clear and razor sharp voice rise above those earthy melodies, I hear the everyman, the humanist, perhaps a modern day Woody Guthrie. That's lofty praise for an artist who is so honorably grounded.
©
James Scott
Buy it at Amazon.com
Listen to "We Will Meet Again"
©
Patrick Ragains
Buy it at Amazon.com
Listen to "The Capitol March"
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "Josie"
©
Timothy Smith
Buy it at Amazon.com
Listen to "From Galloway"
©
James Filkins
Buy it at Amazon.com
Listen to "Sometimes"
