July/August, 2010
Kaki King, "Junior," Rounder Records 2010
This CD continues Kaki King’s journey as a multitalented rocker. "The Betrayer" kicks things off with a stutter-picked
electric rhythm guitar, shifting into a frenetically thrashed double-time chorus. This track typifies the strengths
and weakness of her rock material; the rhythms and lyrics are compelling, but the singing often less so. King
recalls her musical past with "Everything has an end, even sadness," which resembles "Doing the wrong thing,"
from her mostly instrumental album, Legs to Make us Longer. On "My nerves that committed suicide," she plays
electric slide with a trumpet-like tone over an acoustic background, before segueing into a soundtrack-worthy
climax. "Communist friends" departs from the dark tone of the preceding tunes, but its sunny major chords are a
feint for lyrical irony (i.e., "My communist friends, they want to help me," followed by "My communist friends,
they want to kill me"). The music turns noir again on "Hallucinations from my poisonous German streets," which
ends with an outlandish but expertly -rendered drum coda. "Sloan Shore" is another pleasing, low-key instrumental.
"Sunnyside," an intimate and gut-wrenching breakup song, is easily the best vocal piece on the CD. In addition to
being a great instrumentalist (which is only hinted at on Junior), Kaki King crafts masterful arrangements and
writes effective songs. She’s broadened her artistic palette by venturing into rock, and shows the promise of
continued growth, while both building and challenging her audience. A limited deluxe edition of Junior includes
a dvd with King's 2008 solo performance at the Berkeley Church in Toronto and a collection of her music videos.
Aleksandr Tsiboulski, "Australian Guitar Music," Naxos Recordings 2010
Aleksandr Tsiboulski’s debut recording for Naxos, "Australian Guitar Music," is nothing short of astounding,
containing gorgeous compositions supported by masterful playing. Australia has long played a pivotal role in the
history of the classical guitar with consummate performers like John Williams and innovative luthers like Greg
Smallman. Naturally the country also produces composers who write extraordinary music that captures the unique
harmonic intricacies of the instrument. Aleksandr Tsiboulski could not have been a better vehicle for delivering
the exceptional music found on this recording. Born in the Ukraine and moving "down under" at the age of ten,
Tsiboulski studied with Timothy Kain at the Australian National University and also with Adam Holzman at the
University of Texas as a Fulbright scholar. Eventually this prodigious student began to win international guitar
competitions, wowing audiences with his endless virtuosity and passionate playing. On "Australian Guitar Music,
Tsiboulski showcases his innate ability to incorporate his flawless technical prowess with distinct impressionistic
nuances. On the opening "Blackcastle Caprices" the pensive guitar parts sound more like a lute or koto rather than
a traditional nylon classical. The explosive "Dervish" offers lush swirling sonic clusters with percussive slap
bass style passages and modern chord voicings. The pacing of this album is excellent with the dirge-like "Grave"
ultimately flowing into the lively "Guitar Dances." The composition " A Closed World of Fine Feelings and Grand
Design" is a cinematic ballad featuring beautiful, reflective playing. Whereas the Spanish flavored "3 Capprichos
for Goyo" are platforms for Tsiboulski’s fiery virtuosity. "Into the Dreaming" is a surreal musical odyssey and
the final "Dijilili" is a pensive tone poem reminiscent of some of Pat Metheny’s poignant ballads. Throughout
the recording the guitarist’s multidimensional playing draws out the essence of these unique and profound of
compositions. Credit also needs to be given to Ross Edwards, Phillip Houghton, Peter Sculthorpe, Graeme Koehne,
and Brett Dean for providing the amazing works found on this recording. "Australian Guitar Music" is a triumphant
debut for a gifted performer who is sure to be at the very forefront of classical guitar music in the 21rst
Century. This album is highly recommended for all listeners of contemporary classical music and will serve as
an excellent starting point for those new to the genre.
John Prine, "In Person & On Stage," Oh Boy Records 2010
Next time I see my editor I'm going to kiss him. I've been a Prine fan since I first heard Bonnie Raitt sing "Angels
From Montgomery" so when I saw this disc in my mailbox I danced with joy. And yes, that song's on this album. So are
some of his other classics including "Your Flag Decal Won't Get You Into Heaven Anymore," "Paradise" and "Spanish
Pipedream" plus a few I haven't heard before, like "She Is My Everything," a song he wrote for his wife. "Her feet
are so warm they could melt the snow in the early spring." Who else could write lyrics like that?
Most of the album is done with his on-the-money band, Jason Wilber on guitar and Dave Jacques on bass. On some
cuts he's joined by special guests like Iris Dement on "In Spite of Ourselves," a tune written for a movie he did
with Billy Bob Thorton. "The Late John Garfield Blues" is a duet with Nickel Creek's Sara Watkins who also plays
some tug-at-your-heartstrings fiddle. Absolutely beautiful. After a story about his brother teaching him to play
the guitar, he plays the only song he didn't have a hand in writing, A.P. Carter's "Bear Creek Blues." It's got a
kickin' alt-country vibe. "Angel from Montgomery" is sung with Emmylou Harris and "Mexican Home" with Josh Ritter.
I have always loved "Unwed Fathers" and here, Dement's plaintive wail makes it feel even more authentic.
This is a live album with just enough in-between song patter to make it gen-u-ine Prine. Before he does "Glory of
True Love," co-written with Roger Cook, Prine quips "When I was writing this song I had my wife in mind and I was
hoping he didn't." "Paradise" closes out the release. It features an additional guitar, fiddle and mandolin. I
dare you to play this without singing along. It can't be done.
If you're a beginning singer-songwriter, study this disc 'cause this is how it's done. As for the rest of us,
we'll have to remember to blow up our TVs, eat a lot of peaches and thank God for John Prine.
Odair Assad, "El Caminante," GHA Records 2010
What can I say? "El Caminante" by Odair Assad is a majestic sweep of classical guitar playing of mostly modern
composers. Assad brings to the disc decades of startling interpretation, and "El Caminante" further cements his
place as one of the masters of nylon string guitar. The opening and title track "Sonata del caminante" was written
by the marvelous Leo Brouwer, who, according to the excellent liner notes, composed the piece "in a few days."
Like many Brouwer pieces, it careens seemingly out of control in passion and force, only to come lilting down where
we can find breath and drink in the rich aural textures of a composer who finds his match in the power and grace of
Odair Assad to bring his notes to vivid life. This is music at its most sublime and most exhilarating, and Assad
inhabits it with a rare occupation. The disc is half of a premiere for pieces Assad performs, including Brouwer’s
wonder. Egberto Gismonti contributes "Memoria e fado," a melancholic tussle juxtaposing ascending and descending
scales. On "Red Fantasy" by Kevin Callahan, odd meter meets numerous changes in tempo and style, and Assad delivers
each nuance with musicality. Odair debuts "Seis bravidades" by brother Sergio, his long-time playing partner, and
a first-rate composer in his own right. The "brevidades" are brief glimpses into the world of Latin music. The
disc also includes pieces by Astor Piazzolla, Pixinguinha, and Agustin Barrios Mangore’s well-known "choro de
saudade," homage to the lyrical traditional music of Brazil. Who better than the Brazilian Assad to weave its
meandering melody? Throughout every piece, Assad’s playing is technically brilliant and stylistically sensitive,
passionate yet not sentimental. This is a disc you will find yourself listening to over and over again, because
there is always more to find from the fingers of Odair Assad.
Paul Rishell & Annie Raines, "A Night in Woodstock," 2008
The right and proper and really, the only true way to experience the blues is over the course of an evening in a
well-used venue, preferably on the small side, somewhat sweaty, and populated by a number of warm bodies. It
doesn’t hurt, either, to have some sort of altercation, flowing alcohol, and free-form dancing. Paul Rishell
and Annie Raines present all of that and more with their live 13-track set, "A Night In Woodstock." Rishell works
out his National Steel guitar while Raines wails on harmonica. Though they share the singing, it is Rishell’s
versatile voice that shouts, croons, bemoans and cajoles. Rishell and Raines and their backing band team up with
guest keyboardist Bruce Katz and folk/rock legend John Sebastian, who turns up the heat during an extended
harmonica duel with Raines on the set’s closer, "Orange Dude Blues," penned by Rishell and Raines. Rishell, who
also offers instructional videos for country blues guitar (click on the "Dirt Road Blues" banner below), offers a veritable blues-based history lesson on
"Woodstock," paying homage to Louis Armstrong with "Old Man Mose," reviving Blind Boy Fuller’s tastefully nasty
"Custard Pie," and giving a quick nod to slide guitar boogie meister Johnny Winter on "Dallas." The band really nails
it on the inspired selection of "Blue Shadows," which Lowell Fulson took to the top of the R&B charts in 1950. The
story behind the creation of the CD is a story in itself: Raines and Rishell booked a 2005 gig at the Joyous Lake
Club in Woodstock, NY, with the expectation of working on some tracks with their band, in partial expectation of
preparing to be a part of Todd Kwait’s documentary project on jug band music called "Chasin’ Gus’s Ghost." As it
turned out, Kwait picked the Woodstock set to film. As the liner notes of the 2008 CD explain: "It was just
supposed to be a gig in a bar, but on this warm evening in late September, it would mushroom into a full scale
movie production... (we were) intent on making the transition from front porch duo to seven musicians trading off
on 14 instruments, without a net." It’s neat stuff, and the 2009 DVD of the evening, replete with a number of
bonus features, is available separately as well, where you can enjoy the fun from your living room couch.
©
Patrick Ragains
Buy it at Amazon.com
Listen to "Sunnyside"
©
James Scott
Aleksandr Tsiboulski's MySpace
Listen to "Vivace"
©
Jamie Anderson
Buy it at Amazon.com
Listen to "Angel From Montgomery"
©
Kirk Albrecht
Buy it at GHA Records
Listen to "Memoria e Fado"
©
Fred Kraus
Paul Rishell & Annie Raines' Website
Listen to "Dallas"
Antoine Dufour, "Convergences," CandyRat Records 2010
There is a common thread that runs through Antoine Dufour's music. Perhaps it is the syncopated rhythms, the tonal
tapping, or the energy that permeates his fretwork. Chances are all three of these characteristics are what make
him a tour de force of acoustic alchemy that seems to transcend the possibilities of six strings and ten fingers.
Convergences (2010), Dufour's fourth CD release, opens up a window into his creative process. Within the liner
notes DuFour lets the listener in on the inspiration and influences that spark each composition or arraignment,
often identifying the tune(s) that inspired or nudged him in the direction that resulted in these recordings. This
is a rare treat to be able to hear the jumping off point for a composer or arraigner, enlightening the listener's
journey in a remarkable way. Considering that Dufour records, mixes and masters this CD himself, one must assume
the music offered here is as close to the artists vision as possible, adding to the poignancy of the liner notes.
Dufour extends the sonic tapestry that has evolved from his first three CDs complete with the harmonic and
percussive flourishes that can create a hypnotic auditory experience. Convergences also features four rather
unique interpretations of tunes from Yes, Cold Day, Imogen Heap and a playful version of Sting's "Spirits In
The Material World".
Indigenous, "The Acoustic Sessions," Vanguard Records 2010
"The Acoustic Session" -- Indigenous' third album for Vanguard -- is a best-of set that dares to go beyond by
re-fashioning every tune. I heard an earlier incarnation of Indigenous perform at an outdoor festival. The
band at that time consisted of three siblings and a cousin, Nakota Nation members. Now, only Mato Nanji
(always the band leader, singer, and guitarist) remains, joined by his wife, Leah Nanji (co-writer and
harmony vocals) and other supporting players. When I saw Indigenous, they lived up to their reputation as a
tight band with a rhythmic electric sound somewhere between blues and stadium rock. Like me, you might now
wonder if the current line-up can get heads bobbing, feet tapping, and bodies moving in an all-acoustic
format. The answer comes definitively with the first cut, "Now That You're Gone." You bet your sweet ass they
can. They can also translate power ballads, like "Things We Do" and "Should I Stay." "Little Time" goes out
with one of the finest solos on the album. In "Leaving," guest Lisa Germano packs some dramatic violin for a
duet that's more like a duel as it devolves into a cool shredding session. In "You Got It," Nanji channels his
inner Roy Orbison for a faithful cover. Its vocals offer more variety than any other cut with a sweet call and
response section. Folks who listen for lyrics will note the lack of specificity throughout ("her heart has
turned to stone because of the things we do / and we don't wanna change the things we do"). Makes you wonder what
they do. Six-string players will relish Nanji's work on his Guild, but the focus on the picking (almost every
tune goes out with a big solo) also contributes to the sameness that ultimately weakens the album.
Hamilton De Holanda Quintet, "Brasilianos 2," Adventure Music 2009
If you think you can't play fusion on a 10-string mandolin, think again. For those of you who have never heard of
him, Hamilton de Holanda of Rio De Janiero is an acclaimed virtuoso and considered to be Brazil's greatest living
mandolin player. At the ripe old age of 34, de Holanda follows the in the grand tradition of such giants of the
instrument as Jacob do Bandolim, Joel Nascimento, and Armandinho. "Brazilianos 2," a fiery follow-up to "Brazilianos,"
continues de Holanda's thrilling musical journey, traversing jazz, Latin, World Music, classical and Choro (a
popular instrumental style characterized by blazing rhythms, happy harmonies, and lots of improvisation -- the
genre is best described in American terms as the "New Orleans jazz of Brazil.") If you are new to de Holanda
(as I am) be advised to introduce yourself to this artist and his dexterous ensemble by way of the bonus DVD
included in this package before listening to the official album. De Holanda's remarkable Quintet is comprised
of acoustic guitarist Daniel Santiago, Gabriel Grossi on harmonica, bassist Thiago Esprito Santo (Andre
Vasconcellos is the acoustic/electric bassist on the official album) and drummer Marcio Bhaia. Observing these
musicians in a live setting is nothing short of mind-blowing. Their technical prowess is on full display (I
was inspired to pick up my guitar and go modal) as is their keen sense of interplay and penchant for percolating
rhythms (I dare you to sit still.). The studio set is a bit more mellow; however that assessment does not detract
from the ensemble's brilliance. Tracks such as "Virtude Da Esperanca (Virtue of Hope)" would sit well on Toots
Thielemans' The Brasil Project as Grossi and de Holanda's unison lines and solos float over a serene backdrop
of rhythm and space. "Estrela Negra (Black Star)" exudes a modern jazz vibe as de Holanda and Grossi swing in
tandem while the rhythm sections counters with a repetitive syncopated motifs. "Ano Bom (Good Year)" which is
featured on both the album and DVD will appeal to 1970s Chick Corea fans -- the grooves, solos, and melodic lines
are most reminiscent of his work with Airto, Flora Purim, and Stanley Clarke. I'm tempted to run out and purchase
a mandolin...
Ian Melrose, "Around the Corner in 80 Minutes," Acoustic Music 2009
Ian Melrose has long been considered one of Europe's best acoustic guitarists, and "Around the Corner in 80 Minutes"
will demonstrate why. Melrose, of Scottish heritage, calls his fifth solo CD "a musical homage" to his adopted Berlin,
where you need only go around the corner to experience the music of the whole world. Melrose's technical mastery is
every bit as expansive, astonishing in its virtuosity. With pieces that derive their inspiration from Africa, Norway,
Hungary, Bulgaria, and Turkey, Melrose accomplishes stylistic breadth on guitar partly by employing many different
tunings (most typically EADGBE and EADGAE, but DADGAD and even CGCGCD), the capo positioned anywhere from the first
to the fourth frets. Among his repertoire of techniques are hammer-ons and pull-offs to simulate a fiddle's triplets,
as on the Celtic-sounding "The Hedgecutter/The Devil in the Kitchen;" harmonics, as on the gorgeous classical-tinged
"Gigue Highlandaise" and "Troy Lake;" and impeccable descending glissandos. Melrose at times includes other musicians
on accordion, cajon, udu, clarinet, bass, as on the mesmerizing "Benim Canim Canadom," written by Taner Akyol (vocals,
baglama), but guitarists will most enjoy his solo compositions. Overall Melrose's music is mellow and melodic,
gorgeous of tone, and characterized by the kind of refined sophistication that makes his playing seem dazzlingly
effortless.
"Guitar Republic", CandyRat Records 2010
A lively republic of "new" acoustic guitar music is what you get from these three Italian architects of the acoustic.
Sergio Altamura, Stefano Barone, and Pino Forastiere bring differing backgrounds to the project, yet meld their
contributions like "butta." Vaguely Mediterranean rhythms -- sometimes pounded out on the backs of guitars -- meet
hypnotic hooks on the opener, "GR Airport." Their sound is more determinedly "new" than given to any regional
or national flair. If their status as Italian guitarists is in any way novel, it lends itself more to curiosity
about their modernist, European sensibility, than to their styles as players. There's an art music thing going
on here -- I would find analogies to contemporary painters -- and there are no contemporary Italian painters, except
maybe these guys. A few standouts include: the quick, turgid groove meets still life illustration-melody of
"Republic Avenue," the elegiac tone poem that is "GR Station," and the closer, the heavily layered pastiche of
delay and harmonic convergence that is "The Rite of the Republic." Echoes of Emmanuel, Hedges, and many other
practitioners, sure, they are present, but appear so fleetingly that stylistic comparisons would be foolish.
Comparisons? Think Kronos Quartet, as a trio, guitars not violins, making it up as they go along, only on
guitars see; I think I'm losing it (is that heavy breathing I hear?), but maybe you get it -- lively, new,
vaguely... Italian... with acoustics.
©
James Filkins
Buy it at Amazon.com
Listen to "Paroxysm"
Listen to Antoine Dufour at our podcast 
©
David Kleiner
Buy it at Amazon.com
Listen to "Now That You're Gone"
©
Tom Semioli
Hamilton De Holanda on MySpace
Listen to "Baião Brasil"
Listen to The Hamilton De Holanda Quintet at our podcast
©
Celine Keating
Buy it at Amazon.com
Listen to "The Hedgecutter/The Devil In The Kitchen"
©
Steve Klingaman
Buy it at Amazon.com
Listen to "Republic Avenue"
 Ovation Adamas Kaki King Acoustic Electric Guitar |
 DVD: John Prine - Live from Sessions at West 54th |