July/August, 2007
Various Artists, "Cole Porter: Delovely Guitar," Solid Air Records SACD 2062, 2007
This
anthology, drawn from Cole Porter's most familiar songs, follows on the
heels of Solid Air's Henry Mancini: Pink Guitar, which won a Grammy
Award in 2004 for best pop instrumental album. Delovely Guitar repeats
the formula, this time showcasing 14 guitarists from the label's
impressive roster in one solo performance each, with one duet closing
the program. The CD begins with Doug Smith playing "Anything Goes,"
which employs harmonics, octaves, alternating bass and an unexpected
shift of the melody on to the bass strings, leading into a key change.
Nick Charles offers a similarly well-developed arrangement of "I Get a
Kick Out of You." Likewise, Eltjo Hasselhoff's "You'd Be So Nice to Come
Home To," frames a Chet Atkins-influenced treatment with a jazzy, rubato
introduction and coda. Lawrence Juber creates a pop setting for "I've
Got You Under My Skin," dishing out his trademark octave runs, close
jazz chord voicings and treble bends in a very pleasing performance.
Both David Cullen's "Night and Day" and Wayne Johnson's freewheeling
"Love for Sale" are played on nylon-string guitars. These two cuts may
be the most successful interpretations on the disc, at least for
listeners expecting to hear mainstream jazz versions of this material.
Similarly, Mike Dowling offers a sensitive chord melody reading of "What
is This Thing Called Love," although played on a steel-string guitar.
"Begin the Beguine" gets a dark, dirge-like treatment from Jim Tozier,
and may be the most radical reimagining of any of the compositions
included here. As counterweights, Lasse Johansson and Kenny Sultan
lighten things up by recalling classic ragtime and Blind Blake in their
selections. The CD ends with Mark Hanson and Doug Smith dueting on a
pretty, stately "Delovely." This anthology deserves a reception equal to
that of Pink Guitar, although Cole Porter's music comes from an earlier
time than Henry Mancini's and consequently may be more difficult to
recast for solo steel-string guitar. Many guitarists and general
listeners are sure to grab this disc -- they won't be disappointed.
Loudon Wainwright III, "Strange Weirdos," Concord Music CCD-30301, 2007
It's a shame that this insightful songwriter isn't known to a larger audience. Sure, he had a Top 40 hit a million
years ago but it's one better left to the dusty recesses of that bin marked bizarre. Yeah, his sometimes off-kilter
lyrics are, well, weird, but hey, if Randy Newman can do it, why not Loudon? Enough lamenting, maybe scoring a major
motion picture will do it -- sure didn't do Newman any harm. These songs are either featured in or inspired by the
movie "Knocked Up."
I hate to use a description like folk/rock because it could mean anything from vintage Eagles to Peter Mayer
but that's what this is, his acoustic guitar always at the center, with touches of accordion, pedal steel,
mandolin and keyboards on a subtle bed of drums and bass. It's all great dressing for terrific songs about,
well, being knocked up -- love, angst, babies, and life in the burbs, not necessarily in that order. One of my
favorites is "So Much to Do:" "Let's take the final we aced the quiz / Let's get into it whatever it is,"
delivered with Loudon's wry vocals and a honky tonk piano. There's a spirited gospel chorus and organ in "X or
Y" with more of those trademark witty lyrics, "X or Y / Do or die / Pain and joy / It's a girl or boy." "Feel
So Good" is a cool shuffle -- if your foot's not tapping, you're dead. Only Loudon could start a song with "Shut
up and go to bed" and yep, it's called "Lullaby." The admonishments continue over a pretty arrangement of
electric guitar (played by Richard Thompson thankyouverymuch), drums and bass, just right for a lullaby, Loudon-style.
And only he could pen an entire song about math. Well, about that kind of math you do when you're aging --
"Where are they now and what are they doin'? / Everyone's ancient at your high school reunion." On the surface it
may not seem like it but the title cut is a tender ballad, cradled in a thoughtful string section. Acoustic-based
instrumentals are sprinkled through out the album, adding a cinematic feel. Every songwriter should study his work.
His lyrics are refreshing, sharp and creatively descriptive with melodies that don't always go in the usual places.
You don't need to be a songwriter or moviegoer to appreciate this wonderful album.
Loudon Wainwright III's Website Buy it at Amazon.com
John Jorgenson Quintet, "Ultraspontane," J2 Records JJCD7050, 2007
Flatpicker, multi-instrumentalist and composer John Jorgenson has played
extended gigs with Elton John, Chris Hillman's Desert Rose Band, Earl
Scruggs and other high-profile acts. Over the last several years he has
produced several excellent gypsy jazz projects as a leader.
"Ultraspontane" is the latest such offering and arguably the most well
developed of the lot. The focus is on Jorgenson's seemingly unbounded
imagination and technical skill as an improviser. Stephan Dudash
receives nearly equal billing on 5-string viola, playing Grappelli to
Jorgenson's Reinhardt. Jorgenson composed nine of the 12 pieces on the
CD, which shine no less than the stellar playing. The entire program is
executed with equal parts precision and fire. Highlights include
"Swingapore," "Don't Worry 'Bout Me," (with singer Beryl Davis, in fine
voice, reprising her recording of the song with the original Quintet of
the Hot Club of France), "Ultraspontane," and Improvisations #1 and 2.
Yet there are no weak tunes here. On "Lucky Sevens," Jorgenson doubles
on guitar and clarinet, revealing connections between gypsy jazz and its
New Orleans antecedents. Jorgenson recently recorded Django Reinhardt's
Improvisation #1 as a solo on David Grisman's Tone Poets, but here
presents Improvisations #1 and 2 accompanied by the Nashville Chamber
Orchestra Quintet. "Le Journee des Tziganes" (Day of the Gypsies) joins
the jazz and string quintets for a dynamic performance and a folk-rock
influenced break from Jorgenson. Many gypsy jazzers have chops. John
Jorgenson and his quintet have chops in abundance, but his compositional
and arranging skills have helped bring the genre into the 21st century.
If you're unfamiliar with John Jorgenson, there's no better place to
start than with "Ultraspontane."
Eilen Jewell, "Letters from Sinners & Strangers," Signature Sounds SIG2006, 2007
The opening notes of Eilen Jewell’s sophomore release -- Johnny Sciascia’s low down bass, Jason Beek’s insistent
drumming, Jerry Miller’s fine guitar twang, and Jewell’s harmonica (and later, Daniel Kellar’s propulsive
fiddle) -- make a clear and rather swinging statement. Jewell is happily two-stepping away from the downtempo
tunes of "Boundary County," her independent first disc. Forget about the Gillian Welch, orphan-girl-with-guitar
comparisons that were unavoidable then. This is a band record, first and foremost. Song after song on Jewell’s
sophomore release stands as a declaration of independence, musically and lyrically. There’s the Texas tinged
Jewell original "Heartache Boulevard" with its defiant lyrics "I ain’t going home and I ain’t going far" and
Miller’s retro-country solo played largely on the bass strings. Miller propels the tango of Jewell’s "Too Hot
to Sleep" with some downright Dick Dale single string picking on the electric. In case you somehow didn’t get
the point, the closer, "Blue Highways" double times it in a song about a character who’s out to "put miles behind
these wheels" while giving Miller and Kellar one more chance to trade hot solos. The whole affair is a hoot but,
for me, some of the biggest fun was what Jewell did with some covers she rescues from relative obscurity. Her
leisure approach makes Dylan’s "Walkin’ Down the Line" -- which I learned long ago from Hamilton Camp as uptempo
ramblin’ folk -- even more unruly. With help from Jason Beek, Jewell finds the solid two and four inside the
Woody-Guthrie-folk of Eric Andersen’s "Dusty Box Car Wall," but first, she teasingly reminds us where the
tune came from with an intro of sweet old finger picking. Though Jewell populates "Letters from Sinners and
Strangers" with the requisite country dose of folks leavin’, heartbreak, and cheap booze, a real sense of
joy dominates the set. It’s a steppin’-out-record for listeners and one giant leap for Eilen Jewell.
Craig D'Andrea, "Crazy is Catching," CandyRat Records, 2007
There must be something in the water at CandyRat Records, because those guys are putting out some great acoustic
guitar music lately. This latest effort from Craig D'Andrea, "Crazy is Catching", is no exception. D'Andrea seems
equally at home slapping and tapping his fingerboard, gently fingerpicking, and laying down a blues riff.
The opening cut, "Canada Sad" reveals his ability to drive a groove, moving the listener in and out of the ebb
and flow while never losing his direction. It's a great window into the CD, filled with tasteful, but skilled,
playing. You can hear multiple influences in his playing, like Don Ross (who also records on CandyRat), but
D'Andrea has his own voice, too. "Morrison County" is a rollicking jaunt of musical fun. He tries something
I've never heard before, morphing Chet Atkins and Michael Hedges' styles into one song. I think he's closer
to Hedges here, but it's an interesting confluence. The title cut "Crazy is Catching" features some staccato
strumming like a machine gun ripping off notes rapid-fire. In "For Word", he deftly shifts from tapping
to picking to harmonics at will, showing off his command of the instrument, but creating a cohesive musical
composition as well. "Stages of Obsession" and "Canada Sad" have alternate versions for Don Ross' GobyFish
Records, and they features ensemble playing which adds a new dynamic to D'Andrea's playing. In the case of
"Canada Sad", brings a new fire from the belly, with drums and scorching electric guitar in the mix. This
is a worthwhile CD for any guitar lover's shelf.
Craig D'Andrea's Website Buy it at CandyRat Records
Jud Caswell, "Blackberry Time," Alderdown Music ALDO701, 2007
Every tune on "Blackberry Time" has an undeniable sweetness thanks to Jud Caswell’s melodic compositions,
James Taylor-like delivery, and delicate arrangements. But this does not prevent some of the tunes from
delivering real impact. The lovely interplay between two tracks of Pat Wictor’s slide guitar and Caswell’s
acoustic doesn’t dim the delicious gotcha in the story of big city money and small towns in the opening track,
"For Sale." "Whatever Happened to Rob,"is a syncopated contemporary rumination ala "Bob Dylan’s Dream."
Caswell’s tale details "the further adventures of faraway friends" including the ones who get lost along
the way. "The Men Behind the Bushes" takes a harsh critical look at the current political situation and the
muted reaction of those of us who "feel the outrage fading into numb." "Leave Him," is a stripped down and
different look at a common theme. Here it’s the man waiting and hoping the woman he loves will leave her
"strong and silent / not quite violent type." We suspect she won’t. "Peace and Quiet" also moves unexpectedly,
here from conflict in the Middle East to conflict within a relationship. Andy Rice’s slow bowing on the bass
contrasted with the pizzicato in the chorus heightens the tension effectively, though there’s a bit of thematic
overreaching on this one. "Immune" features more lovely picking from Wictor and Caswell and Caswell’s attention
to lyrical detail ("You push back your hair / Stir your coffee, taste the spoon"). The title track is as pure and
delightful as the summer day it celebrates. It is the highlight of the album, with Karen Mal’s vocal support
and a gorgeous mandolin and six-string duet in the interludes. There’s also more of Caswell’s observant
writing ("stains upon my fingers / and an aftertaste that lingers / One part sweet, one part fruit, and two
parts seed"). Blackberry Time... how sweet it is!
Jud Caswell's Website Buy it at Amazon.com
Various Artists, "The Woodchopper's Ball," Divine Wind Records, 2007
I have to admit, I love compilation CD's. You get a nice taste of multiple artists' music to see if that's
something you want to invest in, and usually the CD's are a good bargain for how much music you get. "The
Woodchopper's Ball" is just such a CD -- full of fine guitar music, and you get 26 tracks in all. Many of the
artists are from Ohio. There are some famous players on here, like Don Ross, Pete Huttlinger, Stephen Bennett,
Todd Hallawell, and Robin Kessinger. And there are some players many of us have not heard of, like Ryann
Anderson, Kerry Kean, and Jon Mosey. But don't let their lack of star status fool you -- these folks can play.
"The Woodchopper's Ball" runs the gamut of stylings, from tapping to straight up thumb picking to 12-string
guitar to bluegrass to gypsy. The first CD is more high energy, while the second has more traditional tunes
and ballads. The big names you may know, so let me shed some light on some lesser luminaries on this double CD.
Jim Volk's "Conversation Piece" is a musical dialogue juxtaposing A & B parts, and it reminds me of early
Alex DeGrassi or Ed Gerhard when the Windham Hill label was the freshest face on the acoustic music scene.
Jon Mosey has got the rag down on "Variation on a Theme by Fuller", channeling Blind Boy in this clean yet
dirty ditty. "Rain Whispers" by Michael Kelsey finds us sitting in the gentle wetness on the shores of
Lake Erie enveloped by the hovering fog. This is a great CD -- go out and buy it -- you'll get some fine
music, and all the proceeds go to support the Northeast Ohio Coalition for the Homeless.
Brian Henke's Website Buy it here
Steve Lin & Joseph Williams II, "Eliot Fisk Guitar Series, Vol. I," VGo Recordings VG1013, 2007
Any avid classical guitar enthusiast is going to love listening to this recording, but before I can tell you why,
there is some explaining to do. The disc was originally intended to feature the top prize classical guitar
competitor from the 2006 Boston GuitarFest, however, come the time of the competition the festival unexpectedly
found itself with an even number of adjudicators. These four jury members in turn could not agree whether Steve
Lin or Joseph Williams II was more deserving of the award. They instead decided to declare a draw, and thus
this completely unique album came to be. It is extremely unusual to find a disc that is an even division of
solo performances by two individuals, and the result is an unexpected dynamic that I have never felt in a
recording before. There is an added excitement knowing that these two had so recently competed against one
another, and in doing so had garnered such indecision from the judges. Listening to the recording from
start to finish, first hearing Williams then Lin play their individual selections, you feel as if this is
now your opportunity to be the adjudicator. Indeed they are both highly skilled and sensitive musicians.
Both their competition programs run the entire gamut, covering several time periods as well as varying
degrees of technical and musical difficulty. The result is a thrilling musical journey that reaches two
completely separate and individual climaxes as each performer battles for the spotlight. Following this,
as if to reconcile their differences in a cooperative final touch, the two come together to perform a duet
written by Williams. Having had a taste of what the Boston GuitarFest adjudicators endured, I too would have
had great difficultly choosing a winner. However, they must be commended, because their compromise has led
to the creation of one of the most innovative and exciting discs I have ever reviewed.
Marco Pereira, "Camerístico", Biscoito Fino BF676, 2007
Brazilian guitarist Marco Pereira's tenth release, "Camerístico," firmly establishes the artist as his country's
premiere instrumentalist, composer, and arranger. Pereira is also an accomplished musicologist and educator whose
master's thesis on the Spanish composer Villa-Lobos was presented at the Université Musicale Internationale de
Paris. His guitar work has also graced the recordings of some of his country's most renowned vocalists such as
Milton Nascimento, Tom Jobim, and Gilberto Gil. With "Camerístico" Pereira concentrates on his compositional and
arranging skills where many of the pieces feature opulent orchestral arrangements. Throughout the disc one hears
echoes of the classic recordings of Sergio Mendez and Luiz Bonfa. The guitarist is a formidable talent who plays
with both fire and finesse combined with exceptional articulation and tone. While Pereira's playing is at times
subtle and introspective, he never loses focus of his role as leader. The recording features the artist in a variety
of configurations from trio, quartet, quintet, and orchestra. This is an ambitious project with compositions
arranged thematically to produce a variety of sonorous tapestries woven to create a product much greater than its
separate parts. On the opening track "Circulo dos Amantes," Pereira begins with a slow, deliberate, melodic theme,
which segues into an up-tempo section featuring a dazzling array of rapid-fire runs and chromatic lines. Another
standout is the reflective "Violão Vadio" which is a passionate reading and interpretation of the classic Baden
Powell and Paulo Pinheiro ballad. While fans of the guitarist's solo albums will find this recording a welcome and
enchanting departure from his previous work, all enthusiasts of Brazilian music will thoroughly enjoy this
adventurous musical offering by this exceptional musician.
Marco Pereira's Website Buy it here
Paul Curreri, "The Velvet Rut", City Salvage Records CSR15, 2007
A self-portrait backs the insert, a forlorn Curreri slitting his wrists, hanging himself, falling on his sword....
The message? By any normal standards, "The Velvet Rut" is career suicide. But Curreri is not your normal
singer/songwriter. His complex fingerpicking, easy-going vocals, and torrential wordsmithing have garnered
him praise -- especially among performers -- that requires new superlatives. But Curreri, searching for a fresh
language, produces, engineers, masters, and plays every note on an uncategorizable and uncompromisingly
challenging record about decay, isolation, death, forgiveness, love, and a healthy dose of alcohol...
(There’s even a piano duet entitled "Intermission for Beer.") "The Velvet Rut" opens with "Mantra," a
spoken word Velvet Underground homage complete with fuzz, distortion, and repetitive hook ala "I’m Waiting
for the Man." Impelled by loneliness as wife Devon Sproule tours, Curreri embarks on a metaphysical trip
with the mantra, "God bless the patience stretch from fresh into rotten." Lyrically, Curreri looks for
the general in the specific, Frank O’Hara style. Like O’Hara and Kerouac, he mines his personal life
for material: influences, friends, how he met Sproule, the tale of Curreri’s fruitless attempt to
save "The Wasp" born too soon, complete with Curreri-fied picking and increasingly complex rhythms.
"Fat Killer at Dawn," finds a murderer,"sometimes in the I Want You... sometimes in the mirror dude."
A song about a self-destructive "Loretta" obsesser, features an otherworldly chorus of singing and
clapping Curreris, amid a mélange of rhymes (left of center, poisonous poinsettia, ass full of splinters)...
Even when soul searching, Curreri retains his monumental sense of humor. He also leaves room for
straight-ahead Curreri tunes: "Keep Your Master’s Voice in Your Mouth," "The Ugly Angel," and "Why I
Turned My Light Off." The record closes with a tender and affecting improvised postcard to Sproule
that ends, "Next month, when I’ll be overseas, you will be back home. Then I will come back home and
you will be at home." Last words of a promising career? Nothing can stop the limitless invention and
playfulness of the awesomely talented Curreri.
Paul Curreri's Website Buy it at Amazon.com
©
Patrick Ragains
Buy it at Acoustic Music Resource
Listen to "Night and Day" (by David Cullen) (mp3)
©
Jamie Anderson
Listen to "Strange Weirdos" (mp3)
©
Patrick Ragains
Buy it here
Listen to "El Camino Del Che" (mp3)
©
David Kleiner
Buy it at Amazon.com
Listen to "How Long" (mp3)
©
Kirk Albrecht
Listen to "Canada Sad" (mp3)
©
David Kleiner
Listen to "Peace and Quiet" (mp3)
Listen to Jud Caswell at our podcast 
©
Kirk Albrecht
Listen to "Renewal" (by Doug Smith) (mp3)
Listen to Michael Kelsey and Jim Volk at our podcast
©
Timothy Smith
Buy it at Amazon.com
Listen to "Guajira" (mp3)
©
James Scott
Listen to "Lis" (mp3)
©
David Kleiner
Listen to "Loretta" (mp3)
 (Click on image below to buy) |
 Loudon Wainwright III - Songbook |
 Cole Porter Biography |
 DVD: Gypsy Jazz Guitar 1 & 2 |