May/June, 2008
Tommy Emmanuel, "Center Stage," Favored Nations, 2008
Those who have seen Tommy Emmanuel live know very well that there is a huge difference between the terms "guitarist"
and "performer." On his new live double-CD entitled "Center Stage," the uninitiated can get a virtual peek into a TE
show and share in the unbridled enthusiasm this incredible showman infuses into each and every gig. The emcee
introducing this particular performance proclaims Emmanuel's music to be "acoustic music in your face"... and
Emmanuel must indeed often look into an audience to see a roomful of dropped jaws or enraptured expressions.
Despite the "in your face" reference, Emmanuel has more than one volume and one voice. His elegant touch on "The
Finger Lakes," "And So It Goes," "Ruby's Eyes" and "Questions" proves that his sensitivity more than rivals his
intensity. Still, the more subdued numbers seem to garner a more subdued applause, and the real crowd-pleasers
are those which feature his trademark and lightning-fast contrapuntal Travis/Chet attack, especially "Train to
Duesseldorf," "I Go To Rio," "Happy Hours" and a Beatles medley featuring "When I'm 64," "Day Tripper," and
"Lady Madonna." One can scarcely believe one's ears, and though he's made a career upon this kind of guitar
prestidigitation, here is witnessed confirmation that it's not some trickery of digital mastering. Tommy does
do something quite novel on "Center Stage" -- he experiments with ambient sounds using only acoustic guitar and reverb --
sounding amazingly as if he is using multiple loops and effects processors. "Initiation" is one such foray into a rhythmic drama
which successfully reaches for mood over flash, and is reminiscent of Michael Kelsey's live improv work. TE similarly
morphs "Mombasa," a staple from his "Only" release, into a surprising aboriginal and percussive piece of fiery passion.
Several things come over on "Center Stage" that do not on Emmanuel's previous studio releases -- his sincerity for
his mission, appreciation of his fans, and the degree of flawless mastery he holds over his instrument. Someday,
you need to treat yourself to a Tommy Emmanuel concert, but if you can't, get "Center Stage."
Eltjo Haselhoff, "Guitar Magic," Solid Air Records, 2008
Eltjo Hasselhoff opens his 14-track collection,
"Guitar Magic," with a delightfully nasty blues riff
before launching into a slithery romp he calls "White
Lighting." The fingerstylist and composer displays his
ease with a variety of musical genres on his second CD
for Solid Air. Following the breathless dazzle of the
first song on this instrumental solo CD is a tune
which unfolds like a tree, then an orchard, of
magnolia blossoms, "Promised Land." With hints of
Aaron Copland, it evokes the spirit and mixed heritage
of the early 20th-century immigrants who ventured with
hope and trepidation into America. Beautiful, melodic,
melancholy, hopeful -- he nails this one. Haselhoff's
liner notes lend a bit of insight into his work and
thought processes, along with his choice of guitar,
strings and tunings. Eleven of the compositions are
his own, including an homage of sorts to James Taylor,
"Song for JT," and a nod to Chet Atkins, with the
bouncy "Lenentine." He also includes two tracks by
Turlough O'Carolan (1670-1738). He goes a bit over the
top with a slightly nutty take of "Turkey in the
Straw," in which he throws in some fiddle and a
jaunty, thumping bass. Be prepared to enjoy impeccable
technique, a wonderful sense of melody, a warm tone
and a sense of translating the ethereal as well as the
real into music. Haselhoff knows his craft, and can
discuss it with great clarity -- as evidenced by the
lessons, guidance and commentary (and humor!) on his
website. He counts Paul Simon, James Taylor and Tommy
Emmanel among his influences and idols. Interestingly
enough, guitar isn't even Hasselhoff's day job. He
holds a Ph.D in physics and continues to publish in
his field. He professes never to have had a guitar
teacher, being self-taught beginning at age 8. However
that combination of events and experiences boiled
down, the product of "Guitar Magic" shows it to be
undeniably successful.
Eva Scow & Dusty Brough, "Sharon By The Sea," 2007
Bill Monroe might wonder just what he was listening to if he heard "Sharon by the Sea" featuring Eva Scow on
mandolin and Dusty Brough on guitars, since it sounds like nothing the Father of Bluegrass ever recorded.
Classical and jazz elements permeate the disk, and the two principal players are masters of their craft, to be
sure. They are surrounded by a seasoned group of supporting players on keyboards, bass, percussion and strings.
The opening cut "bird with beastlike qualities" weaves an almost flamenco feel with Scow and Brough alternating
blistering arpeggios, then retreating to the simple melody at a more human pace. Brough uses both nylon string
and electric guitars on the disk for various jazz textures to good effect. The title track "Sharon by the Sea"
uses a staccato phrase as an anchor for point-counterpoint interplay from mandolin and guitar. "Sketches of
Terry" features some fine cello work by Mark Summer, while "Rudolfo" is a slow and sultry tango with Scow playing
the melody clean and cool. These two players obviously are comfortable with each other. "Theoretically
Speaking" sizzles like a warm Latin breeze on a cool evening. Scow shows throughout the CD her study in the
music of choro from Brazil with its flowing rhythms and easy pace. Mandolin is exploring more and more musical
ideas lately, and this effort by Eva Scow, along with guitarist Dusty Brough, reveals that there are no
boundaries for good music.
Eva Scow's Website | Dusty Brough's Website Buy it here
Antoine Dufour, "Existence," CandyRat Records, 2007
Heart-pounding slaps and rattles, driving rhythms, bass lines that contrast and yet still support soothing extended
harmonies, and beautiful melodies flowing just beyond the realm of the lyrical; these are the things I secretly long
for every time I put a new CD from CANDyRAT Records in my player, and this is exactly what Antoine Dufour delivers in
his latest release 'Existence'. This is Dufour's third release with the label, and it is just as striking and
distinctive as his first two. As I closed my eyes, sat back, and let each track fill the room, my satisfied grin
never subsided. Dufour has subtle and effortless way of transitioning his compositions in just a few short seconds
from energetic and uplifting to a soulful warm nostalgia. While melodic and accessible to any listener, his music
is at the same time extremely complex both texturally and harmonically. Dufour is clearly a musician who deeply
understands the nature of the guitar, exploring many facets of the instrument throughout the disc, ranging from
angular rhythmic attacks, to long fluid arpeggios, to melodies speckled with bright ringing harmonics. It almost
goes without saying that, from a technical standpoint, Dufour executes these demanding works with a relaxed
confidence that only serves to magnify and strengthen his connection with the listener. So struck was I by this
recording, that soon after listening to it I went to www.candyrat.com and purchased the official sheet music so
I could add it to my own repertoire. Those out there already familiar with CANDyRAT Records know exactly what I
am talking about, and for those who may not be familiar with the label or fingerstyle acoustic guitar music,
there could be no better introduction than this CD.
Down the Line, "Home Alive," 2008
Down The Line is woodentop pop, a party in an acoustic guitar. This live album is a perfect vehicle to showcase the
fact. Recorded in a hometown Chicago club, the disc sparkles with the sheer energy of youthful performance.
The recording captures their essence with excellent fidelity. I can't understand how some reviewers have compared
this band to Crosby Stills and Nash. They are far closer to early seventies semi-acoustic Doobie Brothers (when
Ken Johnston was the primary vocalist), to Billy Joel's vocal fugue in "Uptown Girl," and even to those Jersey Boys,
the Four Seasons, than to anything folkie. At their most rootsy, they bear a slight echo of the Subdudes, especially
Tommy Malone, though the drumming of Derek Fawcett on his djembe bears an echo of the 'Dudes Steve Amedée as well.
The other current comparison for woodentop exuberance might be Seattle's The Senate. All four members of Down The
Line can sing -- no studio enhancements needed. They do not have a single stand-out presence but seem to share the
limelight relatively equally. The release contains a generous 17 cuts, which together lend a you-are-there flair
to the outing. Standouts include the opener, "Martyr," the Doobies-inspired "Change Your Mind," "Last Call," and
"Here I Am," with its inspired violin solo by Dan Myers. The fact that Down The Line generates all this excitement
in an acoustic ensemble reinforces the honesty of their showmanship. They are good players, too, having too much
fun with acoustic guitars on the cover of Tears for Fears' "Everybody Wants to Rule the World." As I said, they
are pop soulsters at heart. Oh, on one song, "Used To Be," they used a pedal steel. Is that cheating?
Down the Line's Website Buy it here
Jeff Titus, "Wood Dragon," 2007
If you're looking for a different sonic experience in acoustic guitar music, "Wood Dragon" by Jeff Titus is a CD
you should not pass by. While Titus plays some traditional fingerstyle, the centerpiece of the disc is one of
Fred Carlson's unique multi-stringed instruments, in this case a 24-string harp sympitar. The far-ranging tonal
qualities possible with the sympitar are evident on the opening cut, the title track "Wood Dragon." There is an
almost Japanese koto-like character to the higher strings as they open the song, and provide accents throughout,
as Titus keeps the groove through tapping, while letting the bass strings drone in sustain under the melody.
Harp guitar master Gregg Miner adds to this Japanese flavor on a traditional Guzheng. Titus covers Michael
Hedges' "Chava's Song" in all its deliberate lyrical beauty on the sympitar. The other cuts featuring the
sympitar are "Sunset, New Moon," an ethereal wisp capturing the glow of evening becoming the gleam of night, and
"Silent Return," a short reflection that picks up themes from "Chava's Song" while allowing Titus room to dance
his tapping fingers up and down the fretboard. This might be Titus' CD, but he's not afraid to allow his musical
collaborators space to shine, like on "Just A Position," where his strumming lays the base for Michael Manring's
fretless bass explorations to weave the melody. "The Glass" features Drew Youngs on guitar, who helped Titus in
composing and arranging the CD's songs. "Wood Dragon" presents all kinds of guitar landscapes, and its 12 tracks
serve as a reminder of the power of strings - few or many - in the hands of a creative artist.
Mara & David, "Sixteen Secrets," Ozella Music, 2007
Fifteen songs... "Sixteen Secrets"... The bonus secret is Mara and David, a German twosome virtually unknown here.
David -- a classically trained guitarist -- propels the tunes, playing unusually percussively on nylon strings. His
instrument -- the band -- provides everything from the bottom ("High") to the lead ("Maybe It's Me"). Mara slinks
("Masquerade"), scats ("Just a Game,"), raps ("High"), and emotes ("Someone Who Loves"). Together Mara and David
can cover a lot of musical ground with swing and chops. If you must, think of them as a muscular Tuck and Patti on
mushrooms. To understand what these two can do, start with the original "Just a Game." It opens innocently, with
delicate broken arpeggios and a whispered invitation from Mara about "a little fooling around." David starts up a
bass line before the tune expands into a full out Motown groove. Notice how he maintains the bass line throughout
while varying where he strikes on the second to fourth beats, but always hitting the one. Mara's vocals are
effectively seductive ("Let's play hide and seek... I know all your favorite hiding places") in front of an
unstoppable groove. Next, check out the opening track, "Complete With Myself." Its opening strike foreshadows
the drama these two artists bring to the tracks that follow such as Ani DiFranco's dramatic "Jukebox." Covering
this most American of singer/songwriters makes both a logical and a surprising choice. Surprising for a Dresden
duo. Logical because David has a strong affinity for DiFranco's famously percussive, idiosyncratic voicings,
sometimes capturing them note for note. Mara showcases the unexpected beauty of the melody. Working in English
on most of the tunes creates lyrical charm ("you try to spare this to your heart"), some missteps ("Trust the
parrot, he'll lead our fate."), and more than the occasional revelation ("This time, I did not fall on my feet.").
With this impressive debut, Mara & David land in America , and on their feet. The secrets are out.
Mara & David's Website Buy it at Amazon.com
Jay Umble, "Spirit Crossing," 2007
Jay Umble's current release, "Spirit Crossing," is an adult contemporary / world beat collaboration with
international percussionist, Jamey Haddad. Umble studied with Pat Martino and Joe Diorio and is currently
teaching at both Brucknell and Susquehanna Universities. He is also the author of several instructional books
for Mel Bay and performs throughout the central Pennsylvania area with his traditional and contemporary trio
projects. Jamey Haddad is a Fulbright recipient and has played with David Liebman, Paul Simon, and the Paul
Winter Consort. He also teaches at the Berklee College of Music in Boston. Throughout the recording, Haddad
produces dense rhythmic backdrops for the guitarist's delicate, melodic excursions. While Umble's playing is
fluid and masterful, he forgoes extended improvisations in order to create lush, rich, harmonic soundscapes.
The album is a perfect study in elegant understatement, where his inspired soloing does not overshadow the
inherent beauty of the compositions. Noteworthy contributions are also made by JD Walter on vocals, Andy Alonso,
Mike Bitts and Steve Meashey on bass, and Andy Roberts on keyboards. This recording is an effortless listen,
with thoroughly engaging compositions and performances at every juncture. The opening, "Falling Water," fills
the room with rich, dramatic imagery reminiscent to the vintage ECM recordings of the seventies. "Kim" is a
pleasant duet with nice Brazilian inflections offering subtle echoes of the late Baden Powell. The playful
"Flashback" finds the duo in a Pat Metheny mode with Umble melodically "rocking out" to Haddad's supportive
backbeat. "Spirit Crossing" is an eclectic array of sonic explorations blending Jazz, Rock, Pop, Folk, and
World into a cohesive collection of alluring music. This is a recording that has tremendous commercial
potential, without reverting to cliché-driven predictability. The compositions are particularly captivating
with memorable melodies and interesting textures, which should please listeners with a wide variety of
musical tastes.
Yamandu Costa, "Ida E Volta," GHA Recordings, 2008
There is a very sweet nostalgia that washes over me upon listening to the opening strains of Yamandu Costa's "Ida E
Volta." It took a few turns of the disc to realize that the reminiscent vibe being conjured by Costa was from a
cassette tape I'd bought in 1981 -- John McLaughlin's "Belo Horizonte." This was McLaughlin's first very successful
experimentation with moods and polyrhythms that recalled Astor Piazzolla, Django Reinhardt and Hermeto Pascoal, some
of Costa's biggest musical heroes and obvious stylistic influences. Costa, a 27 year old guitar virtuoso who was
born near the border of Brazil and Argentina, has immersed his life and soul in the gaucho and tango, and so holds
an authentic cultural credential that trumps even McLaughlin's expert flirtations with those musical forms. "Ida E
Volta" is a riveting collection of six trios featuring Costa on 7-string guitar, Nicola Krassik on violin and Guto
Wirtti on double-bass, five solo guitar pieces and one duo with bass. Some ("Xodó da Baiana," "Ida e Volta,"
"Encerdando") replicate the spirit of the tango á la Piazzolla, others ("Se ela Perguntar," "Missionerita," "Jangadeirao")
are more traditionally Brazilian. The easiest on American jazz ears are "Temporal," "Cebolão" and "Sampa," Costa
on these numbers demonstrating an awe-inspriing mastery of unconventional rhythms and classical techniques. Fans of Biréli
Lagrène and Egberto Gismonti will be pleased with "Ida E Volta," on which Yamandu Costa proves that his name is
quite worthy to be mentioned in the same breath as these two influential modern icons.
Mike Dowling, "The Blues Ain't News," 2008
Mike Dowling has worked with Vassar Clements, Joe Venuti, Jethro Burns, guested frequently on Minnesota Public
Radio's A Prairie Home Companion, and released a number of fine solo recordings and instructional media for Homespun
and Acoustic Music Resource. His skillful picking goes down smooth as butter, whether he's playing swing, country
blues or a 50s pop song. The music on this CD is emotionally rich and a pleasure from beginning to end. Mike plays
guitar both "straight" and bottleneck, fingerstyle and with a pick, on both wood-bodied and National instruments.
He's joined on several tracks by John Miller (guitar), Orville Johnson (mandolin), Grant Dermody (harmonica), and
Cary Black (bass). There's a strong dose of blues here, including "It Hurts Me Too" (with reworked lyrics), the
title tune, "Blue Harvest Blues" and "Drop Down Mama." The latter two performances are masterpieces of rhythmic
subtlety and variation. Other highlights include "Miss the Mississippi and You," rendered as a sensitive
guitar/mandolin duet, "Good Woman's Love," and "Sermonette," on which Dowling plays slide, backed by John Miller.
Dowling's singing is pleasant and unmannered which is a plus with this blues-flavored program. The uncluttered
arrangements, combined with the musicians' relaxed approach carry a good deal of emotional weight. Dowling once
again provides a lesson in finesse for musicians and great listening for anyone lucky enough to get within earshot.
David Grier, "Live at the Linda," 2008
One man and a guitar can make a lot of music, as evidenced by the fluid David Grier on his latest release, "Live at
the Linda," where Grier treats a small gathering to a special evening of wood and steel. Grier follows in the
footsteps of men like Clarence White and Tony Rice who took bluegrass guitar out of its major chord limitations,
exploring a mélange of styles and textures, all the while never straying too far from the root. Grier has been an
admired picker for years for his ability to flow in and out of the melody while charting new paths. His seminal
work with the acoustic music supergroup Psychograss has found fertile soil in the imaginations of players far and
wide. On "Live at the Linda," Grier mixes folksy humor with captivating melodies. Every cut is a chestnut, from
the opening "Have You Ever Been to England," to the standard "Red Haired Boy" (a musical exploration itself).
Most of the songs don't dazzle with flash, but rather demonstrate a man at peace with his instrument, serving the
music and listener alike. Grier doesn't rely so much on blistering single note runs as deft cross-picking. He
plays a sweet version of Roberta Flack's hit from the 70's "Killing Me Softly," and a medley of "America the
Beautiful" with the Beatles' "Yesterday" which flow seamlessly together, staying close to the original melodies.
Grier does heat things up a bit at the end of the concert in the encore, where he begins to build some momentum on
"Bonaparte's Retreat," then lets it rip on "Randy Lynn Rag" where his power, speed, and clarity just plain leave
you shaking your head. I'm not sure what the audience paid for tickets for this show, but it's worth the price of
admission to get the CD.
Gwilym Morus, "Word on the Border," 2007
When most American music fans think of notable Welsh exports, the first names that probably come to mind are
Tom Jones, Super Furry Animals, and Jem. Perhaps singer/songwriter/guitarist Gwilym Morus can nudge his way
into that select group with "Word"... despite the fact that he sounds nothing like the aforementioned references!
Rendered in both Welsh and English, Morus is a master of understated moods built upon simple motifs which bob
and weave through his guitar lines and vocal melodies. Like many post-modern folk singers Morus incorporates
older styles with more contemporary pop sensibilities. By way of a whispering croon, juxtaposed arpeggios
rendered on guitar and banjo, and legato vocal lines, "Drowning In Words" is most evocative of the classic,
hushed intensity of Nick Drake or Eddie Vedder on one of his many acoustic forays into social commentary.
"You're the One That I Adore" employs a rusty vocal delivery (Tom Waits, early Bob Dylan) that certainly
embellishes this dirge of love -- aspiring troubadours would be advised to emulate this rarely used technique.
No true folk artist would be without an autobiographical traveling song in their respective set-list, which is
where "Leaving Town" excels as Morus once again meshes contrasting arpeggios with a four-to-the-bar backbeat and
brief string interludes (Sarah Collick) which give the aural impression of movement. Waxing political and
personal on the ballad "Life Is Yours" Morus double-tracks his baritone with a falsetto line which artfully
mimics the presence of a female co-vocalist -- another wise move. Other than an occasional bass drum, the
buoyant rhythms on this collection all emanate from Morus' guitar strumming and picking and his penchant for
a slightly-ahead-of-the-beat vocal delivery -- yet another smart technique for buskers who can't afford a band.
Fiddle player Collick shines on "Yn Y Pen Draw" harmonizing with Morus' mournful melodies with no other
instrumental accompaniment. A perfect album for a rainy day, "Word On The Border" is an intriguing listen and a
fine tutorial for solo singer/songwriters seeking new ways to get their material across to an audience, be
it an open mic or top billing.
Brooks Williams, "The Time I Spend With You," 2008
"The Time I Spend with You," Brooks Williams’s seventeenth album, slithers out of the gate with the title track,
a smoky and sophisticated original that evokes the bluesier side of James Taylor. That same warmth and control
that Taylor possesses pervades the majority of Williams’s vocal performances on the album. He croons soft and low
on the Walker and Arnold standard "You Don’t Know Me," once a hit for Ray Charles, his lush and crisp slide and
acoustic guitars shading and coloring, prodding and punctuating all the while. The comparison to Taylor hangs like
a mist in the air even when Williams tears it up with more down-home fare, such as Fred McDowell’s "61 Highway" or
Blind Willie McTell’s "Statesboro Blues." Williams is at his most charming, however, on the melancholy "Martha," a
melody Paul McCartney might have written. And he rocks his hardest on "Same Ol’ Me," a surprise thirteenth track,
where he’s accompanied by wailing harmonica and soulful background vocals. But Williams’s voice is only part of the
story. What sets "The Time I Spend with You" apart is really the tasteful and compelling guitar work. Williams
demonstrates his fingerpicking chops on "Johnny’s Farewell," a tune written for friend and fiddle legend Johnny
Cunningham. On the instrumental "Vagabond Blues," he strides confidently and masterfully on resonator guitar,
accompanied only by acoustic bass. Finally, Williams fingerpicks and string-slaps his merry way through an
arrangement of "Beaumont Rag," which he learned from the flatpicking of Doc Watson. Tracks like these make you
wish there was a little more playing and a little less... Well, you know... Singing!
©
Alan Fark
Buy it at Amazon.com
Listen to "Lenny Bro'" (mp3)
©
Fred Kraus
Buy it at Acoustic Music Resource
Listen to "White Lightning" (mp3)
©
Kirk Albrecht
Listen to "Bird With Beastlike Qualities" (mp3)
©
Timothy Smith
Buy it at CandyRat Records
Listen to "30 Minutes in London" (mp3)
©
Steve Klingaman
Listen to "Martyr" (mp3)
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "Wood Dragon" (mp3)
©
David Kleiner
Listen to "Complete with Myself" (mp3)
Listen to Mara & David at our podcast 
©
James Scott
Jay Umble's Website Buy it at CD Universe
Listen to "Narragansett" (mp3)
Listen to Jay Umble at our podcast
©
Alan Fark
Yamandu Costa's Website Buy it at Amazon.com
Listen to "Temporal" (mp3)
©
Patrick Ragains
Buy it here
Listen to "The Blues Ain't News to Me" (mp3)
©
Kirk Albrecht
Buy it here
Listen to "Crossing the Cumberlands / Old Ebenezer Scrooge medley" (mp3)
©
Tom Semioli
Buy it here
Listen to "Yn Y Pen Draw" (mp3)
©
Chip O'Brien
Buy it at Amazon.com
Listen to "Rich Tonight" (mp3)
 (Click on image below to buy) |
 "Mike Dowling DVD: Swing Guitar - Improvising Hot Lead Solos " |
 David Grier DVD: "Bluegrass Guitar - Building Powerful Solos" |
 Jay Umble: Mel Bay Improvisational Techniques for Jazz Guitar |
