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May/June 2019 Short Takes

Kora Feder "In Sevens" 2019 The three words on Facebook Kora Feder chose to characterize her music, "delicate but bold," describe perfectly her Iris Dement-like voice and the production on "In Sevens." Kudos to the producer, multi-instrumentalist Rich Brotherton. The sparse arrangements fill the sound space beautifully. Feder labels herself a "songwriter and concerned citizen." This debut full release introduces a fine songwriter who puts her concerns into her songs. "Automatic Times" is a moving protest of our gun culture. But, even the romantic "Dance with Me" says, "Just love me forever, ...tell me our country will get better, and dance with me." The confessional "Seven Hours," brims with details ("taxis and temples and dreams... two flies make love on my knee") from spiritual wanderings now ending. Feder muses, "out of all the languages I have cried in, which one meant the most?" The lyrics of album highlight "Meditation Song" take the listener inside Feder's wandering mind. The tune showcases: Feder's light touch ("...seven years in a cave is what it takes, I suppose"); her concerns ("what about the refugees?"); her love life ("my mind took a dangerous path straight to you"); and a terrific tenor guitar solo. Delicate, bold, concerned, gifted and young, Kora Feder is a talent to watch and hear. © David Kleiner

Adam Miller "Love/Home/Fight/Solo" 2019 Adam Miller slides back into the acoustic side of things with a three song EP covering three tunes from his The Defining of Success CD (2018), a sublime collection of jazz infused compositions that opened a whole new perspective of this guitarists' talent, artistry and guitar chops. The fluidity to his acoustic fretwork is equally infectious. Each of these tunes offer melodic moments that invite the listener to move inside and out. His phrasing and note articulation both blossom without tapping or other fret-nastics. Miller's playing is the essence of smooth. In the opening "Love," Miller lays down a ebullient John Mayer-ish groove that is impossible to resist. "Home" follows with a similar but slightly bluesy vibe, while the groove laden "Fight" features frenetic fretwork that would be jaw-dropping live. Mr. Miller is nothing short of a brilliant talent and this EP leaves me craving more of his acoustic magic. © James Filkins



Manx Marriner Mainline "Hell Bound for Heaven" 2019 Harry Manx and Steve Marriner share a musical overlap that coalesces most enjoyably on Hell Bound for Heaven. Their 10-track collection lives mostly in the realm of blues and gospel, but this collaborative effort infiltrates several genres. The duo, longtime friends and accomplished artists who are recording together for the first time, exhibit an ease and appreciation for each other's musical talent throughout this excellent effort. Manx is a slide guitar guru and Marriner shines on harmonica, though he's no slouch on guitar himself. Both are accomplished vocalists, and it's a joy to hear Manx trade off his sandpapery pipes with Marriner's smoother voicings. Manx composed three of the tracks and Marriner two, and they share writing credit on another. Manx's "Nothing" is one for the blues purists, with Marriner showing off his guitar chops while Manx gets down to the grease vocally. Marriner's title track gives Manx a workout on his Indian-inflected Mohan Veena with The Gamblers providing background vocals. Manx's "My Only One," an aching ballad, gets a gentle reading from both singers, with an able assist from Clayton Doley's Hammond organ, and Manx adding banjo. Their taste in covers is impeccable, with wonderful arrangements of Pops Staples' "Wish I Had Answered," Reverend Gary Davis' "Death Have No Mercy in This Land," and the traditional "This Little Light of Mine." This wide-ranging, thoughtful, musically literate CD has quite a lot to like. © Fred Kraus

Les Finnigan "Counterpoint Conundrum" 2019 I first heard Les Finnigan's "Counterpoint Conundrum" about the same time that news broke of Notre Dame Cathedral's burning, and there was some initial doubt that its famous bells would ever toll again. The opening track was somehow a reassuring omen -- Finnigan's acoustic guitar ringing bell-like and resolute. Contrapuntal music is the focus here, in title and execution, but with a modern spin using a beautifully resonating steel-string guitar (an Alberico OM), open tunings and hybrid picking (fingerstyle and flat-picking). This is a beautifully conceived project which integrates excellence all-around in composition, performance, design and recording. © Alan Fark




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