Summer 2023
R.D. King, "Songs of Spring," 2023
Moving through the seasons, modern fingerstyle guitarist R.D. King is now on to Songs of Spring. This EP follows his other "seasonal" releases, which include the very lovely Summerlast,
The Edge of Winter, and Watching as the Autumn Light Fades. Production-wise, Songs of Spring is similar to King's other seasonals, which were mixed and mastered by Antoine Dufour. The reverb is thick,
perhaps sometimes overly so, as I feel it distracts from King's gorgeous articulation. No matter: these are beautiful records, full of graceful, evocative originals that consistently soar to great emotional
heights, and Songs of Spring keeps the feeling flowing. To my ear, one thing that sets King apart from many other modern fingerstylists is his ability to transcend riff and rattle--the insistent repetition of
riffs accompanied by body percussion. King, rather, tells stories, making him a composer as well as a brilliant player. Harmonically, King is less rock and more Great American Songbook. Though he can bring the
fire and rock hard, his tunes have a sophistication that reminds me of a Gershwin or Kern (though coming from a completely different musical foundation), full of nuance and walking lines that make for satisfying
repeated listening. Songs of Spring opens with "Arrival," a hope-filled tune that springs out of the darkness of a hard winter and the long pandemic. "Pink Umbrella" continues in this bouncy, happy-to-be-alive
vein, with its slinky arpeggios falling like warm rain. "Flying" forms the EP's centerpiece, a great soaring thing with its almost impossible interlocking runs and hammer-on combinations. This is one tune where
I wished King and Dufour had backed off the reverb: it's so thick it sounds like synth pads, making cloudy what my ears tell me should be clear sailing. As if anything here weren't with great feeling, the
fourth tune on the EP is "This Time with Feeling," a sonorous lark ascending through mists hovering over an expanse of open field. Perhaps my favorite tune is the last one, the melancholy "Stolen Season."
Here is fire, flourish, and every fancy thing: a melody that tears at the heart, runs that trace the tears we shed for those missing and lost, and an opening up of harmonic yearning that keeps us reaching for the sky.
Bruce Cockburn, "O Sun O Moon," 2023
Bruce Cockburn's voice isn't that great, but it's good enough. Plenty good enough to convey his thoughts about our lives and their interconnectedness - metaphysical and otherwise. And at age 77, the singer/songwriter
reflects clearly on O Sun O Moon, his 32nd album, on just what matters most to him: our planet, our faith, our dependence on each other. The 12 original tracks feature Cockburn's guitar work, often on his stunning,
atmospheric resonator. Cockburn, a member of the Canadian Songwriters Hall of Fame, acknowledges the pandemic, but he informs us straight off on the opening track that "Time takes its toll / But in my soul / I'm on a
roll." With a swampy thump and penetrating bottom end, the energy in "On A Roll" sets the stage for a thoughtful journey into the wonder and preciousness of life. "Into the Now" tells of the need to engage, with a hint
of John Prine-like storytelling, aided by Jeff Taylor's accordion. With "Us All" Cockburn seems a bit like a sage on a mountain: "Shutters and walls or open embrace / Like it or not the human race / Is us all." In "To
Keep the World We Know," Cockburn plays dulcimer and features the harmonies of indigenous Canadian artist Susan Aglukark as well as Sarah Jarosz. "Haiku," the lone all-instrumental number, features a jazzy fingerstyle that
leans toward new age. The unmistakable Hammond B-3 provides appropriate spirituality for "When the Spirit Walks in the Room", as Cockburn talk/sings "We're but threads upon the loom / When the spirit walks in the room."
We get to hear Jim Hoke's nice touch on the clarinet throughout, along with Viktor Krauss on upright bass and Gary Craig on percussion. Cockburn employs an all star chorus of Shawn Colvin, Allison Russell, Buddy Miller,
Sarah Jarosz, Ann McCrary and Regina McCrary on the album's closer, "When You Arrive." Cockburn's like a sherpa for a long uphill trek. He's an inspiring guide to have by your side.
David Cullen, "Revival," 2023
It was the spring of 2022 and the semester had just concluded at Elizabethtown College, Millersville University and West Chester University. With his teaching duties completed, guitarist David Cullen found time to simply
play for himself. He reached for a guitar he had acquired about a year before and allowed the unfettered moment and inspiration to take over. The results were a collection of tunes that became the aptly titled Revival,
his first solo album of original songs in 15 years. To say that Revival was worth the wait is certainly an understatement. Cullen's musical CV is impressive including collaborations with Will Ackerman, Samite Mulondo or
Michael Manring, to Windham Hill or the Philadelphia Orchestra. Cullen has dabbled in many genres including bluegrass, African, Jazz , Classical and even released an album of Grateful Dead instrumental covers. He has
turned over quite a few musical stones in a very successful career that began with his first performance at age 12 and includes being part of Pink Guitar, the Grammy winning tribute to Henry Mancini and an Indigo Blue Award.
Revival is a collection of 12 original compositions and solo guitar performances that indicate this guitarist hasn't lost a beat in terms of crafting melody and expressive fretwork. His acumen in both areas is simply
stellar and musically gratifying from start to finish. No doubt his regular performance schedule and teaching duties have contributed to keeping his artistry and superior skills honed. The bright, effervescent charm
of the opening track "Looking Up" is the perfect welcome, like opening your front door to a sunny day. This is a vibe that resurfaces often on the album in the sonic optimism of "One Day," "Rolling in the Meadow," and
the title track, "Revival." Cullen leans more towards jazz in "Back to Roots" and "Knockin' on the Door." "Let the Horses Run" and "Chamba Tranquillo" are stand out tracks. The first is a cinematic blues tinged
performance that demonstrates Cullen's ability to bring forth the full sonic spectrum of his instrument in breathtaking fashion. The Latin-esque "Chamba Tranquillo" offers the listener an auditory glimpse of a master
maestro immersed completely in the moment, executing notes and melody with an exquisitely subtle and sublime touch. Similarly, "Clouds, No Rain," is a sweet and sumptuous treat in terms of melody, compositional
structure, and performance. What a joy it must have been to be in the studio and be immersed in the splendor of these tunes as they were brought to life.
In some ways, Revival is reminiscent of Cullen's 2001 Solid Air Records release Indigo Blue, particularly in depth and texture. Perhaps, Cullen has revived his compositional and recording artistry while simultaneously
recapturing his muse. Regardless, the world is a much sweeter place for David Cullen's ample musical gifts. Although his performance schedule indicates he doesn't travel much beyond Pennsylvania, should he perform
anywhere close to my neighborhood, you can bet I'll be front row center to immerse myself in his abundance of talent and musical expression.
Don Alder, "Won't Be Home," 2023
Don Alder is a guitar player who can handle lots of styles, as evidenced on his latest release Won't Be Home, a collection of 11 tunes played in almost as many styles. All of the songs are full band with Alder
singing on his first all-vocal CD. The players Alder assembled for this project are all top notch, including Michael Manring on bass on the title track "Won't Be Home" and "Out of Time" which closes the CD. The
entire record has the vibe of creative music from the 1970's, with lots of jazz-pop ideas. Alder plays all the guitars on the record - acoustic and electric. His chops never dominate any of the songs, but always
provide rock solid playing. On "Tell Me," Alder uses tapping, reverb, and some delay to give a Joni Mitchell-like sound from when she began to explore jazz voicings. "Occupied" is a jazzy shuffle with a solid horn
section - it makes you want to dance. The title cut "Won't Be Home" is a musical chronicle of a 2-year hiatus Alder took in the 1980's to accompany Rick Hansen in his journey around the world in his wheelchair to raise
awareness and funds for spinal cord research and accessibility initiatives. The longest tune on the CD is "Cherie-Lament," a call to end violence against women, from a friendship Alder had with a woman who was murdered.
Alder is not afraid of tackling significant issues in his songs; these are not just sugary pop tunes. "Hope and Pray" is a country-tinged wish for things to turn out right, with some nice pedal steel
guitar. "Make up your Mind" is a little cooker propelled by Alder's fast fingers on his steel string. This CD is a departure for Alder because of the vocals, but he's a solid singer and good song writer.
Hiroya Tsukamoto, "Little River Canyon," 2023
Although this is Hiroya Tsukamoto's fifth solo album, I hadn't listened to him previously. That was my loss, because he's a fine composer and player. Tsukamoto plays steel-string guitar, focusing on his own
instrumental compositions and songs. The album's opener, "Across The Seasons," is a guitaristic piece driven by arpeggios and strummed passages that segues into an interlude incorporating dissonance and a sense
of reflection. Tsukamoto also sings on the piece, perhaps more to provide atmosphere than any narrative statement. "April Winter" follows, a darker composition that seems connected to "Across The Seasons." For me,
the piece evokes unsettled weather, followed by the first new growth of spring. "As If It Were Yesterday" introduces a new focus, opening with a strong melody that's answered effectively by a chordal section.
Listening to the tracks as originally sequenced, by the time I reached "Blue House," I realized that Tsukamoto is a lyrical master, incorporating melody with the guitar's expressive characteristics to create
consistently effective and moving compositions. "How Time Like Water Flows" and "Leaving Again" are other gems. "Improvisation" finds him expanding rhythmic and harmonic statements from simple beginnings. "Kindness"
features Tsukamoto's vocals, supported by arpeggiated chords and moving bass lines. "No Matter How Far" has a distinct and appealing melody, while its chordal passages redirect the rhythm and provide a sense of
forward motion harmonically. "Wide Clear Sky" closes the album with another exquisite melody, supported by moody chords in the bass register. Tsukamoto's guitar technique is straightforward, as is his approach to
composition. His melodies are beautiful and clearly executed, most often without ornamentation, although he's not a minimalist. He uses chords in a conventional manner to place melodies in context, but often brings
chords into the foreground and into effective back-and-forth dialogue with single-string lines. His music is very appealing and guitarists would do well to absorb his taste and maturity.
Justin Holland / Christopher Mallett, "Guitar Works and Arrangements," 2023
With a career paralleling the European masters in the context of classical guitar lineage, Justin Holland is widely acknowledged to be the most influential American classical guitarist of the 19th century. A Black
American born free in Norfolk, VA studying and working during slavery and in the aftermath of the Civil War, Holland published thirty-five original pieces and three hundred arrangements of operatic themes and popular
songs. Published in several editions until 1908, 'Holland's Comprehensive Method for the Guitar' (1874) applied the contributions of Sor, Carcassi, and Aguado in the context of American performance practice. It was the
first published American guitar method and it went on to become the best-selling music publication of the 19th century. Half of the fourteen tracks on Guitar Works and Arrangements are world premiere recordings in a
program that represents the known collection of Holland's solo song and dance pieces housed at California State University, Northridge, and the Library of Congress. Christopher Mallett, lecturer of classical guitar studies
at the University of California, Santa Cruz, and co-founder of the California Conservatory of Music liberates those notes from their pages with a skillful amalgam of stylistic integrity and nuanced flair. In Holland's
arrangements of traditional songs which include "'Tis the Last Rose of Summer," to ballad opera favorites from the English stage like Sir Henry Rowley Bishop's "Home Sweet Home," and Lowell Mason's enduring hymn "Nearer,
My God, to Thee," Mallett's resplendent tone and careful attention to phrasing are consistent throughout the program. It is a fitting synchrony on this recording that its final piece, the "Carnival of Venice, Fantaisie"
serves as the masterstroke for both arranger and performer. Holland synthesizes and harnesses well-earned arranging skills, and adds brilliant decorative touches, in his nimble variations of the classic Neapolitan folk
tune in such a manner that it could easily be mistaken for the work of Fernando Sor. Mallet's triumph in the disc's closing piece, in terms of both technical precision and artistic interpretation, can be encapsulated
more succinctly, and with a single word - perfection.
Noah Zacharin, "Points of Light," 2023
In many ways the chorus of "Ten Tons of Road," the opening track of Noah Zacharin's album Points of Light, encapsulates his decades-spanning musical journey:
"ten tons of road beneath my wheels / a million miles of skies above / cannot take me far enough / to ever forget our love."
Zacharin's songs can get under your skin. When they do, you'll find his words, melodies and unique musical presence will get embedded in your musical psyche, to rise up again and again. People often refer to certain songs
and albums as being the soundtrack to their lives. Sometimes it is because some songs are inescapable in terms of media, radio, T.V. , etc., but there are also those kinds of songs that simply permeate our lives,
our day-to-day, because they cut close to the bone in message, meaning or essence. This is the template for much of Zacharin's melodies and lyrics:
"I keep a couple of pieces of gravel / in the heel of my left shoe / they remind me as I travel / of each step I took away from you."
Gravel in the shoe, that's how Zacharin's tunes work. You won't find his name or music mentioned with the Springsteens or Taylor Swifts, but you will find them in the coffee houses, taverns, music festivals and small
venues where what has come to be known as roots music lives, breathes and plays in the ears of people who crave integral music that illuminates and brings meaning to their existence.
As with all of Zacharin's albums, the tunes on Points of Light, Zacharin's 9th solo album, evolved over a period of time honed at gigs in the years prior. His first attempt to record these tracks was in October of
2020. According to Zacharin the sessions fell a bit flat, partly because he was in the process of transitioning from the city life of Toronto to the country environs and a cabin in Village of Medoc, Ontario. Throw
in the onset of the pandemic and sessions for the album didn't revive again until early 2022. The album is a mix of solo and band performances. Among the cast of contributing musicians are Kevin Brett, Roly Platt,
Kevin Turcotte, Denis Keldie, and Marc Ribot. Russ Boswell (upright and electric bass), with the help of Gary Craig (drums and percussion), provides the rhythm for much of the music here, although five of the
eleven tunes are driven by Zacharin's characteristically eclectic and sherpa-like guitar acumen. Zacharin is a guitar aficionado with a unique and expressive voice. Both his voice and fretwork modulate from a
growl to a whisper, conveying musical, sonic poetry as they fuse. Throughout the album, Zacharin's fretwork fluctuates from complex to deceptively simple, employing various styles from blues and ragtime to
fingerstyle to the sumptuous bare fingered/hand strumming of my favorite track "Been a Long Day." Both the opening track,"Ten Tons of Road '' and the poignant "So Much Work to be Done," a heartfelt ode to the
late Guy Clark, present Zacharin's unique ability to achieve potent sonic depth and breadth with one voice and six strings. The rollicking, playfulness of "Ten Tons of Road'' sets up the cinematic and rhythmic
"17 Minute," featuring Burke Carroll with an inspired performance on pedal steel guitar, which combined with the upright bass of Russ Boswell, percussion of Gary Craig, Zacharin's guitar, and Zacharin's
otherworldly vocal performance, becomes something spiritual and transcendent. The same can be said of "Red Red Bird." The tightness and exquisite execution of the musicians supporting Zacharin on the tunes
"17 Minute"and "Red Red Bird," as well as "Bed of Nails," "Lester Brown," and "Done Gone Gone," create musical esprit de corps, which make me yearn to see Zacharin perform with a full band.
Points of Light fits neatly into Zacharin's discography. At the same time it is undeniably a high water mark. My favorite Zacharin album has long been Crow Dark Wind, a more insular, home studio produced, hands on effort,
in which he takes an experimental, poetic approach to his craft. On Points of Light he has figured out how to achieve these attributes while embracing an ensemble approach in the studio. Zacharin tends to keep the
production of his albums close, but on this occasion Danny Greenspoon was enlisted. The two have history from their Montreal days, playing in haunts like the Yellow Door. Zacharin sounds loose and incredibly conformable
in his sonic skin in these sessions. I'm not sure there is a secret ingredient here, but I am sure Greenspoon's contributions as producer, Zacharin's vision, the in-the-pocket groove of the musicians, and the
compositions, all resulted in creating a rare illumination and magic, akin to capturing fireflies in a bottle on a dark Canadian night.
Alex Graf, "Sagebrush Continuum," 2023
Alex Graf is a steel-string acoustic guitarist who lives in Colorado and plays with Tone Dog, a trio based in Durango. His style is grounded in bluegrass flatpicking, strongly influenced by Tony Rice. Graf is
accompanied on this project by Jacob Jolliff on mandolin, himself an accomplished soloist, and Evan Suiter on upright bass. The ensemble begins with an uptempo original, "Rock Squirrel in a Twisted Juniper,"
and it's a winner. Although structured as a traditional fiddle piece, the tune's melody incorporates dissonance seldom heard in bluegrass and old-time music. Graf's first improvised breaks on the tune caught my
attention as particularly strong. His playing ventures harmonically "outside" in the last third of the track, showing he's more than willing to experiment. "Towpath Road," a charming tribute to the late
flatpicking giant, Tony Rice, is the only vocal on the album. Graf shows real strength as a lyricist, as with the haunting line, "Now he's gone, far beyond the stars but closer than a song." On "Back Up and Push,"
the group improvises over a simple, familiar bluegrass progression, again featuring more outside playing from Graf and Jolliff. "Memory Bank" is a guitar showcase reminiscent of Bryan Sutton's "Overton Waltz."
On "Straight, No Chaser," the well-known jazz piece by Thelonius Monk, Graf fuses elements of Monk's approach (tritones, unexpected accents) with bluegrass, which proves somewhat difficult. This tune may have
come off better with a more legato approach to the improvisations, which in Monk's recordings are provided by horns, creating a welcome contrast to the jarring lines of the tune's head. Merle Travis's classic,
"I Am A Pilgrim," is taken at a slow pace, as a blues-drenched improvisational exercise that drives the tune beyond expected limits harmonically. The driving country and bluegrass standard, "Alabama Jubilee" is
a guaranteed crowd-pleaser. "Rene" is a solo instrumental which Graf composed in tribute to jazz pianist Rene Van Helsdingen. The set closes with a smooth jazz original, "Graduation Song," in which we hear
Graf's bluesy lines over his own rhythmic backing. It's a left turn from the album's focus on instrumental bluegrass, but it works perfectly. Alex Graf has drive, great tone, ability as a composer, and
facility in a wide range of styles. Fans of Bela Fleck will find much to enjoy here. I did want more pacing, breathing room, and nuance in some of Graf's and Jolliff's solos, but expect that in time they'll
add these qualities to their considerable skills. These guys have a bright musical future and they're definitely worth following.
Liz Miller, "Halfway Home," 2022
Liz Miller's songs, though softened by skillful songcraft and humor, can hit nerves. Her characters speak in present tense amid emotions so intense they, like players in musical theater, simply must break into song.
Most offer no beginning-to-end story (the powerful "Another Thing" is an exception). Instead, we meet characters at significant moments from the heart-rending to the celebratory. The title track--an album highlight-starts
with Ross Bellenhoit's gentle finger picking and John Conahan's piano. Their themes will recur as the music builds and recedes. The narrator, on a road trip, feels "an equal pull," finding herself once more as far from
her Nashville dreams as her loving, ever patient husband. Though sketched with few words, we appreciate him. When she calls to say, "I don't know when I'll get there," his patient, "'I'll wait'" speaks volumes. Miller
saves the only minor chord for "the punch line of a private joke;" she can never fully be in either place. "Paradise is Hell," tells a poignant tale with a light touch. The narrator seeks reconciliation, forgiveness,
and escape from her guilt for a relationship ending transgression. Intense, right? But, while the band plays a delightfully syncopated rhythm propelled by Chico Huff's bass, Miller playfully twists the typical
tropical vacation images into reminders of what she's missing. Footprints in the sand? "Remind me you're not here to hold my hand." Swaying palms? "The way you used to dance with me." As in all the tunes in this set,
the chorus centers on a memorable phrase that includes the title. Hearing "Hard Times" (a nod to Stephen Foster) with Michael Ronstadt's lovely cello, brought up memories of my family's early COVID days. In the face
of so much unknown, we too said, "We [will] cling to each other." We've heard songs of sexual braggadocio from men, but "Plenty in the Tank," demands equal raunch in this female version (co-writer: Jim Sharp). The
celebratory songs come at the end of the set. "Before You," captures the moment a mother and infant lock eyes, reflecting "a love, greater than any other." In "Anniversary of Gold," (co-writer: Shelley Weiss), one
partner in a fifty-year relationship toasts, "We made it through, holding each other up." Miller's melodies are unadorned and hummable, her language plain spoken. But she finds poetry in both. Her pre-choruses heighten
the drama with upward movement and striking harmony (See: The Love You Can't Have). The tunes stick with you. Minor7th denies responsibility for any earworms that may occur.
©
Brian Clark
Buy it at CandyRat Records
Listen to "Pink Umbrella"
Listen to R.D. King at our podcast 
©
Fred Kraus
Buy it at Amazon.com
Listen to "Haiku"
©
James Filkins
Buy it at Amazon.com
Listen to "Chamba Tranquillo"
Listen to David Cullen at our podcast
©
Kirk Albrecht
Buy it here
Listen to "Endless Situations"
©
Patrick Ragains
Buy it here
Listen to "Blue House"
©
David Pedrick
Buy it at Amazon.com
Listen to "Carnival of Venice"
©
James Filkins
Buy it here
Listen to "Been a Long Day"
©
Patrick Ragains
Buy it at Bandcamp
Listen to "Back Up and Push"
©
David Kleiner
Buy it here
Listen to "Halfway Home"
