May/June, 2012
Drew Nelson, "Tilt-A-Whirl," Red House Records 2012
The opening lines of "Promised Land" on Drew Nelson's new CD "Tilt-A-Whirl" evoke the hard-luck optimism that
permeates most of his work that now extends over 3 full length CD's and one EP: "Up in the morning before the sun
/ Listen to the train whistle whining / Where is it going? / Where has it been? / Why does it pass me by? / Fill
up the thermos / go meet Jose / cold winter day on the corner / I'll do cement work, whatever they say as long as
the jobs come my way / That's how it is / Just getting by is the plan / Welcome to the world of the working poor
here in the Promised Land." This everyday truth and realism is a perspective that has been authentically mined by
artists from Springsteen to Steve Earle, Dave Alvin to Eliza Gilkyson. The themes on this CD do not stray from his
earlier offerings, as he once again creates songs inhabited by migrants, the working poor, ex-marines, farmers,
ethnically diverse and small-town people who live at ground zero of life in rural America, past and present. The
opening anthem-ish "Promised Land", complete with searing lead guitar and driving beat is of the same ilk as John
Mellencamp or Steve Earl tunes that ooze the same sentiments, and are oft imitated today on the country music
charts. What keeps Drew Nelson from being just another of a growing list of artists included in the bland stew of
country music today? The answer, for me, lies in the lyrics of Nelson's "Here to There", a lament about a life on
the road and the helplessness of not being able to be where you want to be; the paradox present in choice, freedom,
responsibility and the regret that inevitably ensues – "The poet says it's all just ashes and smoke / And this
heat down in Texas it will take you by the throat / And it dances on the pavement like I'm dancing with the ghost
of you." This guy isn't just singing about the characters in his stories, he is singing among them, a departure
from his 2009 release "Dusty Road to Beulah Land." I may be the one dissenting opinion, but his "Dusty Road" CD
largely re-worked the unassuming, honest, innocent surprise of his first full length CD "Immigrant Son," and
thereby lacked those very same qualities. Nelson's confidence, increased sense of conviction, and grit is the
change-maker on "Tilt-A-Whirl." This is not an in-your-face "Springsteen/Earle" type of integrity, it is far
more subtle and honest. It's what creates "Tilt-A-Whirl's" pleasing sense of verisimilitude. One listen to the
haunting, ragged, and unflinching "Copper" and you will feel the power and raw intensity of Lake Superior that
only a boy from Michigan's Copper Country could convey in song (apologies to Mr. Lightfoot). Nelson's Red House
debut will firmly establish his place in folk/country music for many years come.
Tim Sparks, "Post-Modern Fingerstyle Blues," TrueFire 2011
There are few players on the scene who have attempted a more varied steel-string guitar portfolio than Tim Sparks.
His Eastern-European and Jewish offerings have been breathtaking for their skill in handling sonically varied and
challenging repertoire. Now, Sparks has recorded via TrueFire a series of DVD-based blues guitar lessons called
"Post-Modern Fingerstyle Blues." The "post-modern" label is Sparks' way of opening up a traditional American
musical form to a global perspective and influence, showing the cross-fertilization of these musical styles that
all could be considered "blues." Like everything Tim Sparks puts his prodigious talents to, it's inspiring, and
will serve as a resource to guitar players who want to sit at the feet – at their own pace – with one of the
modern masters. TrueFire offers these lessons either on disc, streaming, or downloads through their website.
It's true interactive learning - with customizable video lessons with multiple camera positions, .pdf tab and
notation files, and full ability to pause, rewind, and fastforward lessons. You can use practice rhythm tracks
and create your own playlists. Online, you can share videos of your playing for a community of virtual learners.
For his lessons, Sparks works through 8 showcase pieces that will challenge every level of player, even though
this disk is labeled early-late intermediate. The tunes selected cover a variety of blues styles in various
time signatures that will ground students in every aspect of "post-modern" blues playing. Several of the tunes
are klezmer-based. Sparks helps you understand the engine of the blues, so you can build your own arrangements
of these great songs, and develop a heightened ability to create voicings, fingerings, and harmony. Like most
video and online instruction, there is ample split-screen views to see both right and left hand. Sparks does a
commendable job of breaking down his approach and technique for viewers, and if you're not picking it up fast
enough, you can always pause or stop for a while! TrueFire has other Sparks lessons, and a wide variety of
guitar styles to explore if you want to do something other than the blues. This is good guitar instruction at
an affordable price that will serve players of just about any age or skill level.
Martin Sexton, "Fall Like Rain," 2012
Martin Sexton takes on some big issues with his tenth release, "Fall Like Rain." You know, songs with themes like
world peace, everlasting love, societal unrest, and the pure joy of life. That’s a lot of ground to cover, and this
is only an EP – and a five-song EP at that! Fortunately, Sexton dives right in, erstwhile and undeniably sincere.
With Sexton, it’s largely all about the voice, his being a twisting, swirling ribbon of near-liquid metal buffeted by
the wind. He slides into and out of a satiny falsetto with little apparent effort. The guy is smooth, and his
approach works best with the disc's two love songs, both very small and very personal, and very nice: Burlington
and Happy Anniversary (Six Years). With Burlington, Sexton displays his accomplished lower register, which suits
this track perfectly. He’s a sweetheart and a happy fellow, infectiously so. Similarly with Sexton’s ode to life,
"Fall Like Rain," his lyrics point to a person who suddenly, it seems, is awakened to the wonderment and mystery and
joy of life. Even the most cynical will be moved. In a different vein, Sexton multi-tracks his voice into an
angelic choir with the call-for-harmony anthem "One Voice Together," which unfolds agreeably to a soulful ‘70s groove.
An able guitarist who honed his vocal chops early on as a street singer, Sexton lets his fretwork shine on the only
cover track, Stephen Stills’ "For What It’s Worth." Everyone who had a foot in the ‘60s remembers those haunting, and
slightly menacing, opening words: "There’s something happening here, what it is ain’t exactly clear…" Obviously,
it’s dicey taking on a classic with cultural icon status. Some might dispute Sexton’s transforming Stills’
cautionary tale into a jazzy little ditty – even if it the reconstituted product transmits a surprisingly pleasant
vibe. Sexton’s musical production is sweet and clear throughout, organic and pure.
Ewan Dobson, "III," CandyRat Records 2012
From the first propulsive notes of Ewan Dobson III, Dobson's third release, your spine will straighten and jaw drop.
But Wow! doesn't quite cut it. It's hard to find adequate superlatives to describe Ewan Dobson's playing and
compositions. Maybe brilliant, thrilling, astonishing? The 16 songs ” all but a few not written or co-written by
Dobson ” show him to be an inventive and ferocious experimenter and virtuoso who makes heavy metal and classical
not only compatible but inevitable. Dobson, a Canadian, has won many of his country's competitions – both as a
classical guitarist and as a fingerstylist – and his third release includes everything from the traditional
"Blackberry Blossom" to classical "Caprice No. 10" by Paganini (played not with fingers, classical style, but
with a flat pick), to a feverish Georgian folk tune, to a lovely version of "Hallelujah" by Leonard Cohen that
showcases Dobson's command of tone and dynamics. "My Nightmare" features percussive tapping effects and chiming
harmonics, while a videogame-tech influence is apparent on "Level 40" and "Legend of the Brown Goat." Dobson
cracks open "Ice Winter Rock," one of the most beautiful offerings, with a startling and gorgeous flamenco-inspired
passage. But the centerpiece of the album is the breathtaking "Acoustimetallus Plectrus." This sensational
composition incorporates high-octane arpeggios and scales, an exotic Mid-Eastern-sounding diversion, and a
percussive effect of a repeated bass rather than an alternating bass that has to be viewed on Youtube to be
believed. Dobson's virtuosity is such that it threatens to overshadow other compelling aspects of his music –
mastery of tone, color, dynamics, and compositional intelligence - that can be appreciated best with repeated
listening. Without question, Dobson is one of the most compelling guitarists on the scene today.
New West Guitar Trio, "Round-Trip Ticket," 2011
The New West Guitar Group’s fourth musical offering "Round Trip Ticket" continues to redefine the boundaries of the
conventional guitar trio format. Combining the unique sonic timbres of various acoustics with solid and hollow body
electrics, the collective creates an innovative and alluring travelogue. The trio consists of Perry Smith, Jeff Stein,
and John Storie. Forming while still at the University of Southern California, the group soon found themselves
exploring avenues beyond their straight ahead jazz roots. In addition to recording and teaching, the ensemble also
tours extensively across North America performing at a variety of venues from Yoshi’s Jazz Club to the prestigious
Montreal Jazz Fest. Joining the trio on "Round Trip Ticket" is Brady Cohan, who adds innovative electric textures on
four of the compositions. While the album has more of an electric feel than previous releases, the acoustic guitar
still remains the compositional center and focus throughout the recording. The journey begins with the playful
"Arrowhead," and sets the pace for this remarkable album. The composition features brilliantly conceived unison
and harmonic phrases, intricate fingerstyle chords, and swinging jazz lines. "U-Haul Breakdown" is an intense
blue grass burner with blazing single note flurries backed by determined rhythmic accompaniment. On the meandering
"Wandering on a Trail" the three construct gorgeous, introspective harmonies with delicate interplay. While the
closing "Wake Up Call" showcases ambitious electric soloing flanked by powerful, dramatic, rhythm. On the New West
Group’s "Round Trip Ticket," the collective intricately weaves folk, jazz, rock, classical and country to create a
unique sonic tapestry. With the various timbres of the instruments used and the masterful playing by each member,
the group creates kaleidoscopic sound paintings with interesting polyphonic harmonic excursions. This album is
highly recommended for listeners of all types of music, particularly the adventurous ones, who enjoy both
innovative playing and captivating compositions.
Dion, "Tank Full of Blues," Blue Horizon 2011
As it was with so many of the musical giants of early rock and roll, it was with Dion. The blues inspired him and
the blues continue to inspire and sustain him. And "Tank Full of Blues" is exactly what it claims to be, a no holds
barred, paean to the music that afforded Dion a life in the biz. From early rock and roll and his massive hits "The
Wanderer" and "Runaround Sue," to the psychedelic sixties and the progressive harder edged sounds of the seventies,
to the glam of the eighties and grunge of the nineties, and to the urban sounds that surround us today, Dion has
persevered and is no worse for the wear. In fact, he’s quite the bluesman and a superb guitarist. As producer
Richard Gottehrer has said, "The history of rock and roll is all right there in that voice." I’d take it a step
further: the history of the best of American music is in that voice and in those fingers. "Tank Full of Blues"
is more than just a collection of good, mostly original, blues. It’s an invitation to rediscover one of the greats,
to go back and reacquaint oneself with some of the greatest recordings of the late fifties and to follow a man from
his entrance on the scene in the late fifties as rock and roll prodigy to his current status as master bluesman and
elder statesman of rock and roll. Dion rocks. And respect must be paid.
Stefan Grossman, "How to Play Ragtime Guitar," Guitar Workshop 2012
Kicking Mule Records first released this collection in the mid-1970s. On 18 tracks, Stefan Grossman and Dutchman
Ton Van Bergeyk survey solo fingerstyle arrangements of raggy blues, classic ragtime, popular songs and related
genres. Their playing sounds fresh today, and as a tutorial the disc provides an excellent introduction to the
styles of early players, including Blind Blake, Reverend Gary Davis, and Sam McGee, before moving into classic
rag territory with "St. Louis Tickle" and the cakewalk, "Georgia Camp Meeting." Some of the best playing is heard
on bluesy pieces like Grossman's original "Struttin'Rag," "Hard Hearted Hannah," also by Grossman, Van Bergeyk's
"Ton of Blues" (which bears a filial relationship to "Hesitation Blues") and the pop song, "Jealous." Other gems
include Grossman's rendition of "Powder Rag," (Rory Block's arrangement), the Gary Davis rarity, "Slippin' 'Til My
Gal Comes in, Partner," and Frank McGee's "Franklin Blues. " The disc is also noteworthy for presenting the
seldom-recorded Van Bergeyk, who has since become a minor legend among fans of ragtime and blues fingerpicking;
his bouncy, smart arrangements are a treasure (Van Bergeyk also has several recent videos on YouTube). This music
was formative for many fingerpickers in the 1970s, and I'm happy that it's available again.
Peter Mulvey, "The Good Stuff," Signature Sounds 2012
The indications are it started out to be a straight-ahead standards record, and then took a turn into more
idiosyncratic material-and it worked out just fine. From the wine-infused sentiment of Melvern Taylor's "Sad
and Blue" to the gimlet-eyed observations of Leonard Cohen's "Everybody Knows," Peter Mulvey is a singer who is
long on personality and point of view. For those who don't know Mulvey's voice, Dr. John and Greg Brown come to
mind. Mulvey's version of "Everybody Knows" highlights what everybody knows, which is that Cohen's lyrics are
sublime; quite so in Mulvey's rendition. Mulvey's ability to recast and reveal lyrics becomes a recurring theme
in this outing, and it's a testament to his deft touch with an arrangement that he seems to do it so effortlessly.
Little transformations occur where you hardly expect them. Mulvey's reading of the Tom Waits/Katherine Brennan
tune "Green Grass" makes you swear Greg Brown wrote it. And understated settings capture an almost conversational
feel at every turn of phrase. His organic ensemble, the "Crumbling Beauties," mesh like fine nylons as they
perform live in the studio, offering a cohesive acoustic personality. On it's own terms, the band pulls the
elegiac Bill Frisell instrumental "Egg Radio" deep into its Americana roots. If it isn't a standard, it should
be; and you can say that about nearly all of Mulvey's song choices. Like Nick Lowe, Mulvey makes you want to
take him home from the gig and beg him to unpack his guitar again in your living room. It's a certain ease,
and charm, that makes his take on these nonstandard standards so compelling they seem to beg another listen.
Australian Guitar Duo, "Songs From the Forest," 2012
Lovers of the dazzling fingerstyle work of Tommy Emmanuel might be unaware of a sizeble and talented cache of
other Aussie guitarists. This new disc by The Australian Guitar Duo will serve as a reminder that there's more
Down Under than just koalas and dingos. The Duo is Jacob Cordover and Rupert Boyd, and they serve up a tasty
mix of contemporary and traditional classic guitar work that is as well conceived and performed as most any duo recording today. They
reflect sensitivity, power, and elegance in their playing, with a wide range of dynamics that serves the music
well. The CD opens with two compositions by modern, living Australian composers, "Djanaba" by Ross Edwards, and
the title cut, Songs From the Forest," by Nigel Westlake. "Songs From the Forest" is enchanting and moody,
weaving contrasting guitar parts in a complex texture that reveals shades of Leo Brouwer's work (also featured
on the CD in "Three Songs," Brouwer's medley of Beatles' tunes, played just right by the Duo). Another modern
Australian guitarist and composer, Phillip Houghton, is featured on two pieces. "Three Duets" begins with the
undulating, at times frenetic "The Mantis and the Moon," followed by the languid and gentle "Lament," and
concludes with "Alchemy," a twisting trade of parts that bring out the best in Cordover and Boyd's skills.
The other Houghton composition, "Brolga," a 5-part study in angular, dramatic lines, is named for a large
stork native to north Australia. Cordover and Boyd present a lively, rhythmic "Spanish Dance" by Manuel de
Falla with its characteristic Andalusian color. Another Spanish work, "Danza Espanola no.2 'Oriental'" by
Enrique Granados is played with grace and sensitivity throughout the darker tones of this classic. The CD
ends with "Emily's Song," another composition by Ross Edwards. It is lyrical, almost a lullaby, and is a
perfect capstone to a fine recording sure to please the most demanding listeners. "Songs From the Forest"
is a terrific suite of a wide expanse of classical duo guitar.
"Jamie Stillway", 2012
Jamie Stillway's latest CD of original material is a self-titled collection of instrumental guitar pieces. The album
begins with the quirky, virtuosic piece "Analysis Paralysis" which sets the tone for the bouncy, acrobatic guitar
style that prevails throughout the disc.
Following in the path of many purist, performance-oriented guitar players, Stillway performed this CD as a series
of live takes. This fact is written proudly on the back cover of the CD jacket, as if to say "this is the genuine
article – you won't find any digital editing or studio trickery here!" The performances are all the more cohesive
and engaging for it.
The music reaches a high point on "Sparky's Dream". While the title might evoke a thought cloud floating above a
sleeping Dalmatian, the piece feels more like a reflection on a rewarding but labyrinthine journey. It glides
through quiet tensions, rewarding the listener with a refrain that resolves in a sigh-evoking, soul-satisfying way.
"Amboseli" is a haunting piece reminiscent of the guitar style adopted by Joni Mitchell on her earlier recordings;
perhaps something from the Clouds era.
The CD enjoys a textural shift on "The Other End of a Lullaby", where Jamie picks up a charango to change things
up. The lilting, ethereal instrument is a welcome detour from the guitar.
"Jamie Stillway" would be a welcome addition to any library of instrumental guitar music, and for my part it is one
which I expect to return to often. My only criticism is that the album is too short, but that brevity helps to
define this quiet collection of highly enjoyable, cerebrally soothing guitar music.
©
James Filkins
Buy it at Amazon.com
Listen to "Promised Land"
©
Kirk Albrecht
Buy it at Truefire
Listen to "Mississippi Blues"
©
Fred Kraus
Buy it at Amazon.com
Listen to "Fall Like Rain"
©
Céline Keating
Buy it at Amazon.com
Listen to "Blackberry Blossom"
©
James Scott
Buy it at Amazon.com
Listen to "Rivercrest"
Listen to New West at our podcast 
©
Chip O'Brien
Buy it at Amazon.com
Listen to "You Keep Me Cryin'"
©
Patrick Ragains
Stefan Grossman's Guitar Workshop
Listen to "Blake's Breakdown"
©
Steve Klingaman
Buy it at Amazon.com
Listen to "I Don't Why I Love You"
©
Kirk Albrecht
Australian Guitar Duo's Website
Listen to "She's Leaving Home"
Listen to The Australian Guitar Duo at our podcast
©
Jared Fiske
Buy it at Amazon.com
Listen to "Sparky's Dream"
