July/August, 2004
Bob Schneider, "I'm Good Now", Shockorama 79762-2 2004
"I'm Good Now" is relentlessly hook-driven, unapologetically radio ready, and diligent
about highlighting its sing-able choruses. Virtually all of these tunes have the required
drive, double entendres ("Come with Me Tonight"), and attitude ("I can see God on a cloud
in the sky/ ... with a great big grin and some good cocaine"). But when's the last time you
heard a pop song with a line like "he's booger sugar and devil's meat / hard as boardwalk
bubblegum / smooth as 151"? This is not your teenager's music. Listen to the off the beat
electric guitar accents on "A Long Way to Get." Check out the David Gray like interplay
between programmed percussion and piano that kicks off "Piggyback." Or Schneider's gravel
voiced scatting on the Beatlesque "Getting Better." Many of the songs are built on
acoustic guitar: the opening arpeggios of "Come with Me Tonight;" the strummed chords
that start "Medicine," the Cotton picking in "A Long Way to Get," the bass runs that start
the title track until it morphs into something completely different. Though Schneider
is listed as co-producer, he generously gives the bulk of the credit to co-producer Billy
Harvey, who "played the majority of the music on this CD." Schneider 's lyrics offer an
uneasy mix of cynic ("turns out it was a glass of see ya laterade" from "Gold in the
Sunset") and idealist ("A Long Way to Get"). That combination finds its greatest
manifestation in the album's final, hidden track, "Love is Everywhere," which sounds
like something from the pen of Randy Newman. This record brims with surprises, twists,
turns, and clever arrangement ideas. Schneider's music is accessible, entertaining,
tuneful, thoughtful, challenging, and very, very good now.
Philip Hii, "Frederic Chopin's Nocturnes", GSP Recordings 1024, 2004
Classical guitarists have long sought a composer whom they may hail as the Chopin of the
guitar. While some liken Francisco Tárrega's beautiful yet understated melodies and
reflexive use of guitar idioms to Chopin's piano works, others feel more strongly that
the Études of Heitor Villa-Lobos are to the guitar what the Chopin Études are to the
piano. Nonetheless, the dynamic range and dazzling flourishes that mark Chopin's work
have often seemed better suited to the keyboard than to the plucked string. Philip Hii's
most recent release artfully defies such claims. It owes its success not only to Hii's
brilliant technique, but to his inventive and studied arranging skills. The affect of
the Nocturnes selected for this disc are fully maintained in Hii's guitar versions, and
he navigates the delicate lines with an ease achieved only through deep thought and
reflection. Op.48, No.1 is the first piece to fully explore Hii's range of talents,
challenging the guitarist with quick chromatic lines interwoven into a complex polyphony.
Equally memorable is Hii's performance of Op.55, No.1, in which he captures the essence of
the many beautiful moments in this composition. The penultimate nocturne, Op.72, No.1,
once again offers Hii the opportunity to display his acrobatics as he dances through some
surprisingly fast scalar passages while carefully maintaining the active polyphonic lines.
Aside from offering a wealth of new repertoire to challenge concert guitarists, this
recording also sheds new light on compositions that greatly shaped the romantic period
and thus I believe it would appeal to all who appreciate Chopin's work.
Philip Hii's Website Buy it at Amazon.com
Railroad Earth, "The Good Life", Sugarhill Records, SUG-CD-3983, 2004
I planned to cap this review with "I love this album", but I couldn't wait. But my love
comes -- like everything else these days -- with a warning label. This is an uncategorizable
record with imagistic lyrics that never tell stories and a singer whose voice my wife
describes -- affectionately -- as plinky (though it grows on you faster than poison ivy).
In tunes like "Bread and Water" and "Long Way to Go," Railroad Earth captures all the
spontaneous exuberance of great pickers on the back porch. In contrast, "Mourning Flies,"
one of the CD's loveliest tunes, features a careful arrangement. Banjo, mandolin, and
fiddle open the song, swirling and looping in a droning hush. The drums start up, calling
the fiddle as it moves front and center, playing a very pretty melodic theme. Almost every
song has this sort of motif. Each lead instrument plays one, usually doubled by another
instrument. The group is presumably named after the essay by Jack Kerouac and this is a
terrific album for listening to on the road, but the lyrics -- most written by lead
vocalist , six string and National guitar player Todd Sheaffer -- are decidedly homebound.
They take you back to the land with images of fires to tend, leaky roofs ("Storms") and
handmade houses with bread baking in the oven ("The Good Life"). "The Good Life" takes you
back to the heady days when you discover you are alive, mortal, and on our own. Anything
can happen. There are bad dreams and time is passing, but there is so much to pick you up,
like this music. To pin it down, Railroad Earth is a cross between a hot bluegrass band
("Water Fountain Quicksand"), the Grateful Dead ("Goat"), spiritually seeking
singer-songwriting ("In the Basement"), and John Lennon ("Say What You Mean").
"The Good Life" is one of this year's hardest CD's to pigeonhole and one of the easiest
to like. I love this album.
Railroad Earth's Website Buy it at Amazon.com
John Petrucci & Jordan Rudess, "An Evening with John Petrucci & Jordan Rudess", Favored Nations FN2270-2, 2004
How do you restrain the electric intensity of guitar dynamo John Petrucci, known as
shredder extraordinaire of the prog-rock band Dream Theater? Well, not by gearing him
down with an acoustic guitar and unplugging him, apparently. This collection of live
instrumental duos with pianist Jordan Rudess features Rudess exclusively on acoustic
keyboards, with Petrucci trading electric guitar for acoustic on about 50% of the numbers,
although the music on "An Evening With..." boils over exactly 100% of the time.
One is reminded on the opening cut "Furia Taurina" of Al DiMeola's famous duet with
Chick Corea, "Short Tales of the Black Forest", in which skittering melodies are built
with rapidfire 32nd notes crisply stated on acoustic guitar and piano in perfect unison.
That's unusual turf for a guitar idol who has cultivated a niche by wowing the
coming-of-age crowd with pure pyrotechnics and cranked-up decibels. But as with Steve
Morse's playing, the flash is a beguiling façade for some very mature musical manifestos.
Steve Vai wisely recognized the improvisational genius in this live recording and was a
one-man advocate for the re-release of this 2001 production, on his own Favored Nations
label. Thanks in large part to Rudess' rousing keyboard arrangements, even the
electric pieces on "An Evening With..." have a truly epic, rather than ostentatious, feel.
Well, OK, the closing cut "Bite of the Mosquito", Petrucci's blazing alternative to the
"Flight of the Bumblebee", is tremendously ostentatious but you just can't help but let
your mouth drop open in happy amazement.
©
Alan Fark
Various Artists, "Clawhammer Guitar", Solid Air Records SACD 2043, 2003
Guitarist Steve Baughman compiled this anthology, which features him and three other
soloists playing traditional and new pieces in a style adapted from clawhammer banjo
technique. Baughman's liner notes credit Jody Stecher with the first known use of
clawhammer technique on the guitar, which has slowly diffused among fingerstyle guitarists,
leading most notably to this CD and Baughman's book, Frailing the Guitar (Mel Bay).
Stecher contributes two medleys and a 5/4 pipe march here, concentrating on the guitar's
midrange and employing a tone that is more old-timey and less resonant than that of the
other performers. Baughman, Michael Stadler and Alec Stone Sweet each favor a brighter,
more extroverted guitar sound. There is a predominant Appalachian feel to all of the
music on Clawhammer Guitar, encompassing even a new Chinese-themed composition and a
medley of traditional Finnish tunes. While Jody Stecher is the father of clawhammer guitar,
Alec Stone Sweet has developed this technique more fully that the others and Sweet's
pieces offer perhaps the best listening on the album. Sweet uses shifts in timing and
attack to enhance his presentation of "Tumblin' Gap," "Shady Grove/Salt River," "The Wind
That Shakes the Barley," and "Ducks On a Pond/Cold Frosty Morning." Clawhammer technique
allows the fingerstyle guitarist to play melodies at fast tempos and therefore merits
investigation by players who wish to play Celtic and Appalachian fiddle and old-timey
banjo tunes, or launch into as yet uncharted waters.
Paul Geremia, "Love, Murder and Mosquitos", Red House Records 172, 2004
Only a handful of artists remain dedicated in preserving acoustic country blues in its
natural format. One such artist is Paul Geremia, who’s been performing almost four
decades across the country and in Europe. A genuine historian of this treasured format,
Geremia is also known for being a master blues guitarist and an exceptional
singer/songwriter. Love, Murder and Mosquitos(Red House), is a showcase of Geremia’s
incredible fingerpicking dexterity on both twelve and six string acoustic guitar,
his rack harmonica talent and expressive vocals. "Love, Murder and Mosquitos" has 18
tracks covering all three subjects. At first glance it may seem tiresome, but it’s
actually quite lively with Geremia adding a little fun to the mix. "New Bully In Town"
talks about all types of bullies in life, even making a few political jabs.
"Mosquito Moan" finds Geremia expressing his displeasure with these little pests. You
can hear him trying to slap one, "Ouch!" On a serious note, "Evil World Blues" touches
upon the homeless issue, his deep vocal lament with bluesy fiddle, adds to the message.
Geremia’s fingerpicking will amaze you on his version of Blind Blakes, "Tootie Blues",
gliding across the fretboard like an ice skater. He pays tribute to his close friend
Dave Van Ronk, on "Bad Dream Blues", a Van Ronk tune recorded back in the 1960s. "Love,
Murder and Mosquitos" was long in arriving, but well worth the wait. This brilliant
recording of prewar blues and original tunes, is backed by fiddle, mandolin, string
bass and banjo. The pure energy of this album is all Geremia giving us his very best.
Paul Geremia's Website Buy it at Amazon.com
Pete Teo, "Rustic Living for Urbanites", Red Bag Music, 2003
Pete Teo, Malaysian native, might very well be a pop music genius. His live shows in the
Far East reportedly have earned him a cult following and good press. "Rustic Living for
Urbanites" shows why: the guy can craft songs that sound immediately familiar yet
eerily personal. Throw in a non-threatening, but tighter-than-a-tanktop band and the
formula is cooking. Teo opens "Rustic Living for Urbanites" by tapping into the
perfect pop idiom with his upbeat "Arms of Marianne", featuring a lilting,
have-to-singalong-with chorus. The name Marianne shows up in three titles, to give an
indication of Teo’s heart-on-his-sleeve approach here. His lighter songs make his
darker songs all the more interesting, with knockout lines scattered liberally. This
singer/songwriter/poet doesn’t hesitate to show a quietly tortured side, as he does most
hauntingly on "Alive and Free", and throughout the 10-track collection. While his themes
revolve around love, living and letting go, his vignette-like, earnest approach generally
rings true. His world view helps to create an other-worldly aura, as he comes at us from
an angle that we’re not accustomed to. There’s a vague sense of mystery shrouding Teo,
building a pleasant curiosity. This is some intriguing work; it feels like Zen pop,
hinting at life’s answers but offering only questions.
Pete Teo's Website Buy it at iTunes
Jerry Kosak, "Sounds Like This", 2004
Classically trained guitarist Jerry Kosak plays against type on his 12-track instrumental
release, "Sounds Like This". His original compostitions exist in a musical realm far from
the all-too-prevalent studied, academic exercises that often come off technically perfect,
but lacking in interpretation. Happily, Kosak, who holds an advanced degree in classical
guitar and musicology, stays grounded with his love of traditional music roots. A line
from Kosak’s web site sums his work up so nicely it bears repeating: it "suggests Segovia
playing the music of Robert Johnson, while thinking about Leo Kottke". His technique is
sound, his joy for composition and exploring musical styles is infectious, and his
arrangements are pleasant. The one missstep on this collection (and he has at least
one other CD available) is the only non-original tune of the bunch, "The 12th Street Rag".
Though nicely performed, his choice of performing on such an upper register is jarring.
Dan Newton’s fine accordion accompaniment ends up going for nought. Otherwise, this is
fun and enjoyable stuff. In addition, Kosak’s a real guitar-horse, performing on a 2000
Martin 0M-42, a 1928 National Tricone Spanish neck, and a 2003 National Vintage Tricone.
He owns a number of National metal-body guitars. "Sounds Like This" presents a nice
collection of tunes, styles and moods you won’t soon tire of.
Jerry Kosak's Website Buy it here
Sam Bush, "King of My World", Sugar Hill Records, SUG-CD-3987, 2004
You're king of your world. Widely recognized as perhaps the best mandolin player around.
The proof rests in no less than 277 albums: solo, with the deservedly legendary New Grass
Revival, and accompanying artists from Doc Watson to Garth Brooks. You've even been dubbed
King Sammy after more than two-dozen appearances at the Telluride Bluegrass Festival.
So? Is it good to be king? This new solo project is Sam Bush's answer. It starts with
the kind of hot picking ("Puppies and Knapsacks") fans expect from Bush. There are the
well-chosen covers like Grandpa Jones' "Eight More Miles to Louisville" and a couple
Jeff Black tunes, "They're Gonna Miss Me When I'm Gone" and the title track, with its
theme of getting away from it all, an intro played on fretless electric bass by Byron
House, a cool thematic motif on electric guitar by Jon Randall, and Bush's dramatic
long held closing note on lead vocal. In fact, Bush handles all of the lead vocals
admirably as well as playing fiddle, banjo, slide mandolin and guitar. Now and again,
Bush leads the faithful to places they might not otherwise go. "Bananas," is a Latin
tinged Bush penned new grass style jazzy instrumental (yeah, that's how eclectic all of
this is). "The Mahavishnu Mountain Boys" is a raga inflected take on bluegrass with a
guitar solo by Jon Randall that's nothing short of nirvana. There is the spiritual
questing of Keb Mo's "A Better Man" and Johnny Clegg's "Spirit is the Journey." The
closer is the hot swing of Bush's paean to his baseball hero, Ozzie Smith. This diverse
territory has been visited and re-visited by Bush in his career, but in his majestic
hands the vistas are always new. Long live the king.
©
David Kleiner
Sam Bush's Website Buy it at Amazon.com
Jaquie Gipson, "Images", Tapastring Music 0104, 2004
Michael Hedges opened a whole new world of acoustic guitar music by his revolutionary
two-handed tapping. Players like Preston Reed have added strong percussive elements,
and young guns like Justin King are exploring new boundaries of speed and power. But
sometimes in all the banging and gonging, I really just want to hear a coherent melody
developed through the movement of the song. In her second solo release "Images,"
Colorado-based Jaquie Gipson shows why she is gaining a strong regional and even national
following. There's plenty of popping, tapping, banging and scraping happening to satisfy
the non-traditionalists who want the guitar to be a box of all trades. But Gipson also
marks time in distinctly melodic ways, using fingerstyle where it works well. One of the
strengths of this music is that her compositions know when to stop -- there is not an
endless dragging out of sound. "Hummingbird" picks us up in its flight of fancy, darting
and dashing with effective tapping but presenting this diminutive sprite is all its
resplendent glory. "Gettysburg" beautifully haunts us with images of that national
tragedy. "Spirit Warrior" evokes the spirituality of the peoples of the First Nations
in a blend of percussion, flute, and guitar to bring us to the war council (several
cuts have a Native American feel). My favorite piece is "Autumn's Song," one of the
best fingerstyle songs I have ever heard. It's one of those you just can't get out of
your mind, like a sweet walk through the gently falling leaves on a sunny, cool afternoon.
An added bonus of this self-produced CD: a full 56 minutes of music, not slim pickins
like some independent releases. These are thoughtful images given to the listener:
you'd do well to give it a listen yourself.
Jaquie Gipson's Website Buy it here
Eric Elias, "Footprints", Phunquie Pholk Music 0103, 2004
Time was when you played one style, that's what you were -- a jazz guitarist, or a
classical player, or a rocker. Not anymore. The new generation of guitarists is
crossing over in genre and style, and showing the strength that comes from melding
various influences into acoustic music. One such player is Eric Elias, whose latest
CD "Footprints" showcases his abilities in pop, acoustic, jazz, and even
classically-tinged compositions. This is not the first time around the block for
Elias, who has recorded several other acoustic and jazz CD's. The 11 cuts on this
recording reveal some fine chops and sensitive textures, though no pyrotechnics.
Elias starts us out funky with some effective two-handed tapping on the opening cut
"Flying Fish." "Fresh From Heaven" has a smooth acoustic jazz groove, and his duo
with Robert Messore on "Fat Cat Bossa" whirls and slides through great chordal changes
and single note runs. "Morning Light" syncopates between a pair of nylon-string
guitars; the interplay is effective. The traditional classical piece "Afro-Cuban
Lullaby" is well-phrased and preserves the feel of the piece, but perhaps without
the power of a true classical player like Christopher Parkening. The CD closes with
a lovely arrangement of "The Lord's Prayer" on steel string guitar, drawing the
listener into that quiet place of the soul. One caveat on this recording: sound
quality could have been better and would have done more service to the music.
Overall, "Footprints" is a good listen.
Eric Elias' Website Buy it at Phunquie Pholk Music
Ben Woolman, "Wisdom/Delusion", HAM-091303, 2003
Ben Woolman is an accomplished fingerstyle guitarist who composed eight of the ten pieces
on this all-instrumental CD. He performs well in different tempos and settings, i.e.,
solo and when accompanied by bass guitar, percussion and, on one tune, mandolin.
"Sunday Shine", the opening track, is an up-tempo piece conveying a sense of uplift
and forward motion and including some nicely doubled guitar/bass lines. "Heat," a solo
in a minor key, pleasingly changes the mood, featuring unresolved seconds and a
major-keyed middle section, recalling some of John Renbourn's originals. Another solo,
"Sorrow Floats," is evocative of resignation and acceptance and is one of the CD's
best tracks. Woolman does a more than credible job on the oft-covered Lennon/McCartney
tune, "Here, There and Everywhere," strengthening his statement of the melody with
some octaves and replicating the original recording's chromatic run in the middle section.
"Perfect Pace" is built on arpeggios, which Woolman varies smartly by playing in the bass,
middle and high registers, then by altering his timing and right-hand attack before
returning to the original statement. Woolman's originals recall works by James Taylor
and Laurence Juber in their emotional content and lyricism. Some pieces on this CD
are too similar in tempo and approach, and Woolman might have avoided a sense of
sameness by employing different guitar tones or, since he works very well with other
instrumentalists, by judiciously using more players. But as it stands, "Wisdom/Delusion"
is a strong work from a growing artist.
Ben Woolman's Website Buy it here
©
David Kleiner
Buy it at Amazon.com
Listen to Come With Me Tonight (RealAudio)
©
Timothy Smith
Listen to Andante (streaming mp3)
©
David Kleiner
Listen to Bread and Water (RealAudio)
| Jordan Rudess' Website
Listen to Furia Taurina (RealAudio)
©
Patrick Ragains
©
Pamela Dow
Listen to Meet Me in the Bottom (RealAudio)
©
Fred Kraus
Listen to Arms of Marianne (streaming mp3)
©
Fred Kraus
Listen to Bananas (RealAudio)
©
Kirk Albrecht
Listen to Buffalo Song (mp3)
©
Kirk Albrecht
©
Patrick Ragains
Listen to Sunday Shine (streaming mp3)