July/August, 2018
Danny Trent, "Two Homes," 2017
Two Homes is the debut CD for Italian guitarist Danny Trent. Some of his family lives in Toronto, a city for which Danny also feels a kinship, hence the title. Although geography and culture affect all artists, the stronger influences here are musical. Trent pays homage to
several of his steel string influences, specifically Tommy Emmanuel on "Capone" and "E.T," but he also channels Chet Atkins, Jerry Reed and Merle Travis on original compositions like "Hubbard's Rag," "Strolling on
the Shore" and the Merle Travis cover "Guitar Rag," which features a very solid "American" sounding vocal from the Italian native. Trent is supremely talented, but his talent per se does not flagrantly steal the spotlight on this CD,
because at the core of Trent's artistry there resides a guitar player's player. Impressive fretwork exists to serve the melody, and thus skill, melody and musicality fuse to transcend to pure auditory
exhilaration. There isn't a track here that doesn't have this quality. From energetic Travis style rags like "Hubbard's Rag" and "Guitar Rag," as well as Trent's cover of Renato Carosone's "Tu vuo fa l'americano" to
modernesque percussive finger-style compositions like "Waterfalls" and the sumptuously elegant "Love Thoughts" effused with subtle phrasing, Two Homes offers a variety of finger-style techniques. I am hard pressed
to pick favorites here, but "Strolling on the Shore" with its infectious melody and effortless tempo certainly qualifies. It also showcases Tent's compositional skill. Trent's take on Carosone's "Tu vuo fa l'americano"
(You wanna be like an American) is an absolute delight, emulating Chet Atkins' gypsy soul. Undoubtedly, it will bring down the house at any performance. Needless to say it is now on my list to learn. To appreciate Danny
Trent's artistry I encourage a visit his Facebook page and YouTube channel. Everything from covers of Ray Charles to Stevie Ray Vaughn can be found there (yes, he has an electric side).
It makes perfect sense that Danny Trent began his foray into guitar at age 12 studying classical guitar and graduated with honors from the Niccolň Piccinni Conservatory in Bari, Italy. He is a classically
trained musician who embraces the totality of the music. Not surprisingly, the liner notes of Two Homes indicate his passion for learning music in its original form before embarking on new arrangements. This
respect for the masters, be it Mozart or Atkins, is embedded deeply in Trent's own compositions and style. Danny Trent's Two Homes is an amalgamation of the past and present, effortlessly appealing to contemporary
melodic structure and fluid fretwork, yet clearly intertwining the structure of that foundation that is still the root and inspiration for the guitar player's journey. Bravissimo!
Steve Dawson, "Lucky Hand," 2018
Canadian Steve Dawson has released eight albums of his own, worked extensively as a sideman, and produced artists like John Hammond and Kelly Joe Phelps. On the all-instrumental Lucky Hand,
Dawson presents guitar solos, small ensembles, and works featuring a string quartet, the latter arranged by longtime collaborator Jesse Zubot. "The Circuit Rider of Pigeon Forge," opens the album
and gives the listener a clear idea of Dawson's vision, combining his fingerstyle 12-string guitar with the string quartet. Here he employs a rhythm that recalls Leo Kottke's early recordings. The
strings serve several roles, including strengthening "Circuit Rider's" dramatic arc. The minor key "Bentonia Blues," led by Dawson's deft slide guitar, features a wonderful surprise - Charlie McCoy on
harmonica. "Hale Road Revelation" is a fine solo, played on a wood-bodied guitar and featuring both fingerpicking and slide. Steve Dawson's execution is very clean, regardless of the guitar he chooses,
and his compositions echo those of Kottke and John Fahey, particularly in their rocking rhythms and juxtaposition of rootsy melodic themes with dissonance. He is successful in this context. To my ears,
some of the tracks with strings, horn, and woodwinds seem to call out for stronger melodies. The duos and trios, such as "Bentonia Blues" and the beautiful guitar/mandolin piece, "Little Harpeth," are my
favorites. Among the tracks with the string quartet, brass, and woodwinds, "The Circuit Rider of Pigeon Forge" and "Lonesome Ace" come next. The entire album is listenable, contains many surprises, and will
inspire fingerpicking guitarists to play in less conventional settings.
Kaki King, "Live at Berklee," 2017
Kaki King, a towering figure in the guitar firmament, crashed through the glass ceiling with her first CD, vaulting to prominence for her astonishing technical prowess and originality. At the time of her third studio
album, …Until We Felt Red," in 2006, when she was 26 years old, she was the only woman and the youngest guitarist on Rolling Stone list of "the New Guitar Gods." Even today she is often the only woman appearing on such
lists. She has now released eight EPs and CDs, scored music for television and film, and branched out in unconventional directions, including guitar-related art installations and multimedia productions: Her The Neck Is a
Bridge to the Body project (2016) was a multimedia extravaganza that used her signature acoustic Ovation as the surface for image projection. King's compositions rely on percussive playing that combines fret-tapping
and slap bass techniques, alternate tuning, and sound layering and looping, in the style of Michael Hedges and Preston Reed, but she takes these in more avant-garde directions. From all of the above it's clear that King
is a dazzling artist, but on Live at Berklee she subsumes her own playing, just one among the 12-member string ensemble of Berklee students and faculty, the Porta Girevole Chamber Orchestra. The CD moves seamlessly
through new arrangements, by Tom Hagerman (of Devotchka) and Takuma Matsui and Shereen Cheong (Berklee students), of eleven of her solo compositions. What's most interesting is to compare the pieces in their solo
iterations to these orchestral arrangements. For instance, on "Fences" an oboe plays the melody refrain rather than the guitar, swelling violins thicken the sound, and discordant elements heighten the drama.
"Solipsist" retains its vigorous percussive, spiky essence, but with the strings dominating the guitar. "Skimming the Fractured Surface to a Place of Endless Light" is an intricate, atmospheric mix of guitar and strings,
a very different take on the more up-tempo raspy solo version. The tempo is slowed on "Night After Sidewalk" and "Fortuna," resulting in softer sweeter versions, with the strings enhancing the role of the guitar. Overall,
the arrangements faithfully capture the essence of King's work. But while the CD is a must for King aficionados, those primarily interested in guitar or King's playing would be better served by her solo CDs-even for those
cuts where the guitar plays a larger role, such as on the extraordinary "Magazine," with its Mid-Eastern vibe and fingerstyle pyrotechnics. Clearly King is always on the lookout for new outlets for her creativity; one can
only wonder where her questing impulses will take her next.
Thomas Athanaselos, "In Memoriam," 2018
Greek meets Latin on Thomas Athanaselos' "In Memoriam." The guitarist presents the complete suite of four movements of Astor Piazzolla's "Estaciones Portenas" (or Four Seasons of Buenos Aires) arranged by the brilliant
Sergio Assad. Athanaselo's playing is full of crisp colors and feeling; it's a piece of light and darkness, joy and melancholy, and Athanaselos renders each part with clarity and precision. Whether playing single-note
lines, complex chordal passages, or delicate melodies, Athanaselos seems fully in control of his instrument. The guitarist also includes another Piazzolla composition, "Milonga del Angel," an exquisitely beautiful piece
that is not a typical tango for which Piazzolla was so famous. The milonga is actually a precursor to the tango. It weaves and slowly spins, moving gently and never too rushed. Athanaselos plays an Assad oringial
composition, "Farewell," a brief piece of longing and sadness, phrased just right by Athanaselos' deft fingers. A trio of arrangements by Roland Dyens – the jazz standard "All of Me," "All the Things You Are," and
"Felicidade" written by Juan Carlos Jobim – present a wider palette of playing for Athanaselos. The nylon string guitar really shines in capturing the mood and color of these tunes. Particularly powerful is his playing
of "All the Things You Are," separating the various parts in a splendid mix. While I think I prefer the version of "Felicidade" by Jason Vieaux, Athanaselos does it justice in all the right ways. Athanaselos includes
three of his own compositions – "Aurora," a flaming run through the cosmos with dramatic arpeggios; the title track "In Memoriam," a moving denouement of counter point between the bass lines and the melody; and
"Atonement," a melodic intercourse between delicate chords and treble notes. "In Memoriam" is an engrossing disk of modern classical guitar music, and Thomas Athanaselos is a young artist who would seem to have a
bright future ahead of him.
Lindsay Lou & The Flatbellys, "Southland," 2018
Maybe you've been lucky enough to hear Lindsay Lou because she's on the road a lot, from high-profile Americana gigs like Mountain Stage and Merlefest to tours in Europe. This singer-songwriter from Michigan has a sultry
alto with breathy high notes that would blow back your hair even without her crack shot band of Dobro, mandolin, acoustic guitar and more; rich harmonies are sprinkled throughout. Her collection of engaging songs
starts with "Roll With Me" where she implores "Don't slow me down." The title cut has a laid-back vibe, just like the south and it's all here – sweet tea, front porch swing and a mockingbird's song. There's an engaging
guitar riff that powers "The Voice" and a rootsy harmonica on the whimsical "The River That I Knew." "Go There Alone" is about finding balance in life. There's a bluesy feel in "Sugar"; the arrangement features a strong
mandolin and refreshingly, horns. A soulful Dobro takes center stage in "Simple and Sober." It's a light look at a new way to live that, hey, ain't so bad. In "Magic Man" she tells us "I melted in your arms with desire and
destruction." Oh, how we've all been there. In "Satellite" she sings "I need your body to keep me warm." This entire album will keep you warm.
Daniel Lippel, John Popham, Nils Vigeland, "...through which the past shines...," 2018
Guitarist Daniel Lippel's "…though which the past shines…" is a collection of solo and ensemble works by contemporary composers Nils Vigeland and Reiko Füting. Lippel holds a master's degree from the
Manhattan School of Music, and has performed at festivals across the globe from the Beijing Modern Music Festival to the Teatro Amazonas in Brazil. The recording is a tribute to the progressive and innovative
music of the Manhattan School, conceived by Vigeland and Füting, which had a profound influence on the guitarist. The album begins with the deliberate "I. Double" presenting edgy melodic sequences flanked by
delicate interludes featuring lush harmonics. On the ambitious title track composer Niles Vigeland makes a special guest appearance on piano. Along with cellist John Popham they pay homage to the modernist
music of their formative years and at the same time valiantly progress towards the future. The use of silence, delicate interplay, and dissonant harmonies allows the trio to create sonic vignettes that
challenge and inspire the listener. The track "wand-uhr: infinite shadows" contains lavish cascading arpeggios, sparse persuasive sections, foot stomping and wordless vocals. The Beatles inspired "Quodlibet"
finds the cellist and guitarist meandering through spacious and sonorous valleys of post-modernistic landscapes. Popham's masterful cello intuitively complements the guitarist's diverse and brilliantly executed
passages. The album ends with "Hine Ma Tov" an introspective and reflective deconstruction of a traditional Jewish hymn. Dan Lippel's " . . .through which the past shines . . ." shows a deep understanding of the
historical lineage of contemporary music while boldly redefining the future of the genre. Although challenging, the recording offers numerous rewards for adventurous listeners. The album should also help bring the
inventive and influential compositions of Vigeland and Füting to a wider audience. This release is highly recommended for aficionados of contemporary music or for those wanting to expand their musical horizons.
Pat Donohue, "Stealin' from Chet," DVD 2018
Pat Donohue was the guitar mainstay of Minnesota Public Radio's Prairie Home Companion for many years. He performed on acoustic and electric guitars in many settings, including solo spots, fronting a band, and
accompanying innumerable guest musicians. This highlight occurred in the midst of Donohue's longer career as a solo guitarist. His fingerpicking skills place him among the top artists in the genre, and he teaches
at Swannanoa Gathering and other guitar camps. In this lesson Donohue teaches five of his own songs, each of which highlights different fingerstyle techniques. He begins with a gospel-flavored tune, "On the Road to
Kingdom Come," in which he reflects on today's political polarization and offers some good advice. The song uses sustained chords and passing tones for a sophisticated sound. His right-hand accompaniment combines
simple Travis picking, broken up by some nice rolls on the bass strings. "Stealin' From Chet" features more Travis picking, including some tasty ascending and descending chord sequences that fingerpickers can use
in different settings. In this homage to Mr. Guitar, Donohue adds a shout-out to Merle Travis, which is very appropriate, since the arrangement contains some of Travis's trademark moves. The third tune,
"Jazz Names" ("I'm gonna get me a jazz name") is in G and includes more shout-outs, this time to Duke, Count, Bird, Toots, Zoot and other jazz greats. Donohue uses the A section of "I Got Rhythm" for the
song's chord progression. In the teaching sequence he uses simple first position "folk chords," then moves on to mostly four-string voicings in closed fingerings, using no open strings, for a punchy rhythm.
He shows several options for chord substitutions, which completes his demonstration of the song as he performs it. Guitarists who haven't worked with chord substitutions or closed voicings might want to seek
some context from a jazz player who is familiar with them. "Buddy the Blues" ("I'm your new buddy the blues") is a 12-bar blues in G with a flashy instrumental break that uses single-string runs. Students
should pay particular attention to the song's turnaround, which employs contrary motion and was used by Blind Blake and the Reverend Gary Davis. Donohue concludes the lesson with "Irish Blues," a fun song
that marries a blues shuffle with the traditional tune, "Irish Washerwoman," underlying his tale of a night of indulgence with the boys. Students can benefit from this lesson in several ways. These songs will
add variety to a singer/guitarist's repertoire. Learning them will also expand one's technique, and the songs provide inspiration to compose one's own material, perhaps in a humorous vein, as Donahue has done.
The production follows the format of Stefan Grossman's Guitar Workshop, with Donohue performing each tune, teaching it, then playing it in a split-screen display that shows closeups of both hands. The songs and
guitar parts are included on the dvd or download as a .pdf file. Pat Donohue has created a lot of music over the years and he's still at the top of his game.
Kerri Powers, "Starseeds," 2018
My heart goes out to the artist who closes her CD with the achingly beautiful "Can't Find My Way Home," of supernovans Blind Faith. To her credit -- and skill -- singer/songwriter/guitarist Kerri Powers absolutely
owns that 1970s iconic mind-melder, and transforms it into her end statement, her coda, her hand-hewn peg to hang her hat on. Just how Powers does it is testament to her inspired work on the nine preceding songs
of her 2018 10-track collection, Starseeds. Powers, who has been performing regionally in New England for some time, paves the way to Blind Faith by exploring the connection between roots rock, blues and the ethereal.
She starts things off with the whimsical, almost jaunty "Peeping Tom," and progresses through the "Me and Bobby McGee" vibe of "Somewhere on the Vine," bringing in some pedal steel to supplement the old-shoe-comfortable mix.
Powers shows lyrical chops with the swampy "Bicycle Man" and "Mine the River." She takes it to another level with her "Free Bird Flying" -- so quietly powerful, utilizing the string arrangement of producer Eric Michael
Lichtner. She hits Gene Clark's "Polly" out of the park as well, just nails it. What's floating in the spaces between the walls on this album is a cosmic quality that tugs us from our earthly existence toward the
seductive hint of a higher meaning. It's elusive, it's "Moon and Stars," it's "Grace and Harmony." There's no answer, just stories, just suggestions of questions. And perhaps we all are just trying to find our way home,
wandering Stevie Winwoods in the wasteland. We could certainly find worse guides than Kerri Powers. Like flickering starlight, she reveals a bit of a wooded, curvy path here and there. We're all pretty much on our
own, but there exists some solace in knowing there are others seeking their own paths as well. Note to selves: A plethora of stumbling is perfectly acceptable, but Power's footprints gently guide. Nice work from a
thoughtful, insightful, soulful artist.
©
James Filkins
Buy it at Amazon.com
Listen to "E.T."
Listen to Danny Trent at our podcast 
©
Patrick Ragains
Buy it at Amazon.com
Listen to "Bone Cave"
©
Céline Keating
Buy it at Amazon.com
Listen to "Neanderthal"
©
Kirk Albrecht
Buy it at CD Baby
Listen to "All the Things You Are"
Listen to Thomas Athanaselos at our podcast
©
Jamie Anderson
Buy it at Amazon.com
Listen to "Roll With Me"
©
James Scott
Buy it at Amazon.com
Listen to "I. Double"
©
Patrick Ragains
Buy it at SGGW
Listen to "Stealin' from Chet"
©
Fred Kraus
Buy it at Amazon.com
Listen to "Can't Find My Way Home"
