November/December 2001
Masa Sumidé, "The Collection," 2001
The area between tiny Maizuru, Japan, Tulsa, Oklahoma and New Brunswick, New Jersey
encompasses a lot of geography. This triangle formed respectively by the hometowns of
guitarists Masa Sumidé, Tuck Andress and Joe Pass is vast, yet the musical landscape of
their three instrumental styles could not be more proximate. It's not lost that this
triangle also bounds the creative stomping grounds of Michael Hedges, whose brassy
influence shudders through some of the more memorable tunes on Sumidé's solo instrumental
retrospective, "The Collection". "Mister Blue", "Night Rider", "Addicted to Swing" and
"Skinny Dog Boogie" are pure funkifized gumption, sassy tapotements skipping proudly over
taut wires. Truly an artist, Sumidé can effortlessly maneuver a quicksilver steer from
syncopation to contemplation. "Little Min" and "Night Groove" swing easily through an
architecture of jazz voicings that meld comping with melody, capturing a sensation
simultaneously wistful and content. Sumidé takes the opportunity on "Nobody Knows"
to credibly assert the pleasing heresy that Brasilian guitar can ring too on steel
rather than nylon. And though a fishing village on the coast of the Sea of Japan is
almost absurdly opposite in context to the image brought to mind by the term "honky tonk",
Sumidé's ragtimey "Paris Rag" proves that there is an inclusive universality to the engaging
language of music that transcends the narrow scope of each of our heritages.
Anne McCue, "Amazing Ordinary Things," 2002
Anne McCue's new album opens with one of life's Amazing Ordinary Things, the sound of
crickets. Their rhythmic chirping is joined by percussion, confident rhythm guitar,
and finally a band, to create music that swells to a hook you can remember.
"Angel Inside", produced by Joni Mitchell's ex and frequent collaborator Larry
Klein (who plays a number of instruments including the dulcimer-like marxophone)
starts with guitar, then voice. Drums enter to signal another radio friendly chorus.
"Laughing", showcased in a video that finds McCue suspended in mid-air, builds from
acoustic guitar to an insistent chorus with rhythmic harmony and electric slide.
Yes, this record works overtime to highlight its hooks. Yet it succeeds in disarming
us anyway with a pleasing mix of sensuality and spirituality in McCue's singing and
the little mysteries in her words. Musically, there's always a new wrinkle.
A coy vocal on the CD's earthiest lyric ("My Only One") precedes the purity of "More
Than This". A live recording of "Love We Made" finds Ms. McCue in a simpler setting
with a smoky voice and guitar playing that supports Billy Di Cicco's trumpet. In
"Desert in the Rain," Jerry Goodman unleashes a swinging violin solo, as he does on
the opening cut. McCue contributes driving electric lead and a powerful solo; she's
responsible for most of the guitar work throughout. The yearning vocal of "Always"
sends us another beautiful riddle which asks, "Can you see that the meaning of life
has no reason?" In the album's final, rocking tune McCue waits, either for a man or
a messiah. "Amazing Ordinary Things" is a heady combination of sexuality, mysticism,
little enigmas, and carefully orchestrated music.
Strunz and Farah, "Stringweave," 2001
On "Stringweave" the dueling Spanish guitars of Jorge Strunz and Ardeshir Farah become
one voice. Strunz and Farah possess amazing dexterity, trading solos on each cut with
clarity, perfect harmonic intonation, and rhythmic diversity. Though fellow guitarists
may be impressed with their technical prowess the real mark of genius on this disc lies
in Strunz and Farah's melodic expertise. Often repeating phrases with slight variations
before breaking into a flourish, the twosome are constantly reinforcing the primary motif
throughout their improvisations, allowing the audience to become familiar with each
composition almost instantly. Most of all, these two guitarists and their sidemen know
how to use space. With Alberto Salas' syncopated comping on keyboards, a myriad of
percussive textures, and bassist Eliseo Borrero outlining the changes with simple
root/fifth configurations, Strunz and Farah can stretch their phrases over the bar-line
and take liberties with key and time signatures. The final three tracks add
L. Subramaniam's violin to the mix to conjure a mood not unlike Shatki, the most
interesting of which is "Laleh" and giving the impression of one continuous
solo even though there are three different musicians under the spotlight. Though
"Stringweave" is a guitarists' dream the emphasis is clearly on the music.
Ken Hatfield, "Dyad," 2001
Charlie Byrd pioneered it, and Ken Hatfield is continuing a marvelous
legacy of melodic nylon-string jazz guitar. With his third CD release,
"Dyad", Hatfield is gaining notice with his ability to cross over musical
boundaries and play it right. The more I listened to this recording,
the more I was struck by how much music is on it. This is Hatfield's
most ambitious work to date, and the ensemble joining him brings out the
best in his compositions. We get memories of Django Reinhardt and
Stephane Grappelli in the bouncy "To and Fro" and "Do You Know Joe
Jones?", as well the ballad "A Bit for Miss Fitt", where Hatfield
exchanges the staccato of Django for more subtle chordal phrasing. On
"Impressario" Maucha Adnet's voice provides the melodic base for
Hatfield's guitar and Valentin Gregor's seductive violin work, whose
sound undulates from the swing of Stephane to shades of Jerry Goodman's
early work with John McLaughlin. The rhythm section of Duduka da Fonseca
on percussion, and Hans Glawischnig on double bass keep things moving.
Other highlights: "Incantation", with its changing rhythms pulling us in
and out of the sultry melody; and the soaring, upbeat "Endymion", where
Hatfield showcases his cross-string picking. The release of "Dyad" makes
it clear that this Hatfield is the real McCoy.
Gary Myrick, "Waltz of the Scarecrow King," 2001
Waltz of the Scarecrow King animates two landscapes, Gary Myrick's Texas (Jesus, the
El Camino, the trailer, Elvis) and his California (nightclubs, waitresses, musicians
yearning for a hit). At home, the songwriter can do what he wants in obscurity.
In LA--if he pleases the right people--he might find fame. The music reflects this
conflict. The guitar work is stripped down, Texas style, whether leisurely picked
on an 1894 Washburn or ferociously attacked on dobro. LA inhabits the project's high
concept: basic tracks, voice and guitar, recorded live with string quartet added later.
The quartet duets with clean Cotton picking in "Honk if You Love Jesus". In "Fame is Dangerous"
a nimble run introduces strings. "Hometown Waltz", a lament to lost innocence from someone
driven insane by "tour buses and radio", is a lilting Texas waltz with a tasty guitar solo.
A trio of dobro, guitar, and violins takes us away from the bleak "Redeemer". "Scarecrow King"
offers particularly lovely interplay. The album's penultimate cut, jauntier than most, finds
the singer failing to sell a song, but consoled by Elvis' admonition to rock on. The final
tune's atmospheric slide playing morphs briefly into raga. We're left in California's
Mojave yet somehow closer to Texas than LA. A string quartet in pop is often shorthand
for significance. Myrick does go for the big statement. Listeners will have to decide for
themselves how well "Waltz of the Scarecrow King" holds up under the weight of its desire.
But no one can deny its moments of beauty or its ambition.
Jenn Adams, "In the Pool," 2000
The opening chords of "In the Pool" would lead you to believe it's a soft record,
folk in roots and blues in influence. This CD isn't background music. You have to turn it
up, and you have to listen. But it does fool you. The CD starts out folky with acoustic guitars on "Joliet" and "Most
Precious Days" and the appropriately titled "The Garden Song" with nice vocal touches á la
Phoebe Snow. But then you get to "Not Tonight". Drums hit, guitars are plugged in and a sultry,
kind of swamp-like feel erupts and you find yourself making that subtle head-nod move and
you just might get up and dance. Not disco dance. Solid blues/rock dance. She never really
states what she's not going to do tonight, but I'm telling you just don't bring it up. She
is NOT going to do it. I shouldn't mislead you, Jenn Adams' acoustic guitar is prominent
throughout. The songs are promising with good but not great lyrics. But when she takes it
that extra step there is magic, as on "Mozambique Is Burning". Arrangement credits aren't
given, but that person deserves one of those little statues they give out on glitzy
Hollywood nights. Passionate drums lead by sultry vocals. The CD is fine, with touches of
brilliance. Suggestion to Jenn: don't accept your final version of the song or the lyrics.
Take two more steps into them and you will find a special soul. Like you did on Dylan's
"All Along The Watchtower". You made it into something new. No small feat.
©
Alan Fark
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©
David Kleiner
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©
Tom Semioli
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©
Kirk Albrecht
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©
David Kleiner
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©
Mike Gormley
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