September/October, 2002
Peter Mayer, "Elements", Blue Boat Records BB1205, 2001
Peter Mayer's "Elements" succeeds as an in-concert recording because it reveals what a
studio recording cannot. It is an autobiographical Periodic Table charting the primary
attributes of great performance, life's spiritual quest, and Peter Mayer himself.
"Molly O'Malley," the opener (and one of only two studio cuts) establishes that
"everybody's in the band," accompanying Mayer as musicians--whether joining in "with
voices.." or simply listening "with attentive eyes and ears"--and as pilgrims together
on the journey. Mayer welcomes us into a mystical watering hole where, over the door and
above the bar, hang two questions which resonate throughout the CD: Is this a place of many
souls or just one very large one? Are there many songs or just one that goes on and on?
"Molly O'Malley" also demonstrates the elements of Mayer's appealing guitar style:
alternately percussive ("Astronaut Dreams"), rhythmic ("Canoe Song"), melodic ("O Sun")
or here, all of the above. In Mayer's capable hands the instrument sounds like a calliope
one moment, an orchestra the next and then a cleanly picked guitar á la Dave Van Ronk
("The Dark"). As the concert continues, composed almost exclusively of cuts from venues
throughout the U.S, we hear Mayer drawing in audiences with an embracing spirituality
leavened with melody, poetry and humor (as in self-deprecating songs like the whimsical
"Scatterbrain"). The lyrics discover universal truths in the dilemmas of individuals
("Running with the Buffalo," "Astronaut Dreams") and in the absurd. "The Birthday Party"
finds Mohammed and Buddha trading "bits of news and stories from these thousand years"
riding the train to Jesus' birthday bash. Jesus' departing message to the avatars and
seekers who have joined him, "Hey, let's not be strangers," suits a world in which those
of different faiths continue to be strangers and worse, but how sweet indeed to smile as
we face such unpleasant truth. Mayer's melodies move unexpectedly enough to keep things
interesting but never stray too far from something hum-able. Mayer's on-stage patter, at
a minimum here, is a model for singer-songwriters, as is his work with the accompanists
showcased in two tunes. Mayer is a performer at the top of his game who knows that the
secret to living in a world of perplexing questions is enjoying the search for answers.
"Elements" helps.
Nonato Luis, "Nonato Toca Beatles", Kuarup KCD-130, 1999
It is hard to overestimate the impact of The Beatles and their main songwriters Lennon
and McCartney on worldwide popular music in the 21st century. Their classic pop songs
have been recorded in virtually every imaginable setting, ranging from various solo
instruments to full-scale orchestrations. Of course, this rich body of melody has not been
ignored by the classical guitar community, either. In the face of so many interpretations
from so many quarters, it can be daunting for an artist to consider whether he is in a
position to make a contribution. Even so, Nonato Luiz brings a fresh, distinctive
interpretation to the eternal melodies of Lennon-McCartney (and George Harrison's
"While My Guitar Gently Weeps") by employing the unique musical flavor of northeastern
Brazilian culture in which he was raised. Although the album cover is cleverly inspired
by the so-called "White Album", all periods of Beatledom are represented, from "And I Love
Her" all the way to "Let It Be". Lesser-covered tunes such as "Penny Lane", "Piggies",
"Eleanor Rigby" and "The End" are particularly welcome additions to the body of classical
guitar instrumentals. Luiz has been recording since 1980, has over 16 albums to his credit,
and is name-checked regularly in the company of other Brazilian guitar titans such as
Baden Powell, Laurindo Almeida, Carlos Barbosa-Lima, and Bola Sete. This album confirms
his position in such esteemed company, and offers fresh interpretations to a heavily
worked catalogue.
Nonato Luis' Website
Steve Oliver, "Positive Energy", Native Language 0925-2, 2002
Smooth jazz has a reputation for sometimes being a formulaic genre, sequestered into a
niche manufactured for radio play. Steve Oliver, on "Positive Energy", may be the
guitarist to tear apart these unfair preconceptions. In fact, at its best, smooth jazz
is an accessible and infectious mélange of Brazilian, jazz, pop, soul and funk, and Oliver
segués easily between these individual styles rather than using the cookie-cutter approach
to stamp out a radio-ready song. Oliver's resumé has been written by a long history of
experience and road time, performing with the Rippingtons' Steve Reid (who also plays on
"Positive Energy"), Peter White, Marc Antoine and Larry Carlton. Carlton's influence can
be heard on "Right Direction", where several of the bluesy electric note bends and
breakneck runs sound as if they came right off a late 70s-era Steely Dan album. But it's
when Oliver picks up his Godin acoustic that the emotion oozes out of his compositions,
from the goosepimpling and introspective "Day's End" to the celebratory "Festevo". Oliver
liberally uses his own vocal scat or soaring melodic voice to accompany guitar lines.
This technique most successfully augments the tune "Horizon", which with its unusual
meters and deference to dynamics could very easily be mistaken for the Pat Metheny Group.
A steel-string and nylon-string guitar monster, Buster B. Jones first gained notice in
1988 when his $1.50 K-Mart cassette entry was chosen on the first draw by Guitar Player
Magazine out of a field of 900 entries in its International Competition. This was followed
by a 1990 win of the prestigious National Fingerpicking Championship at Winfield, Kansas.
Since then, "The Machine Gun" (as his French fans named him) has been a prolific recording
artist and performer, as well as teacher (over 10 instructional videos attempt to show
others how he does it). Although his blinding-fast fingerpicking is most impressive at
first glance (and serves to draw in astounded listeners), further listening reveals that
he is equally adept at what many musicians consider as a more difficult task: playing
fewer notes... ones that mean more, and say more with less, as he does on album opener "A
Simple Gift", title cut "Just Us", and "One Sad Clown" (the title says it all). Jones has
crafted an album consisting largely of his own compositions inspired by his two main
guitars "Merle" and "Pearl" (he is happiest when alone with them-"Just Us"). Along the way
we are treated to a barn-storming version of "Alabama Jubilee" (it must be tunes like this
that caused Chet Atkins to say of Jones "He plays like he's double-parked"),
"Collage-a-Reed" and "Clawin'" (each inspired by mentor Jerry Reed), while "Let the Sun
Shine In" sounds like an instant classic that you could swear you have heard before, but
haven't. Well recorded, with top-notch playing.
Pierre Bensusan, "Intuite", DADGAD Music FN 2130-2, 2001
Pierre Bensusan doesn't play songs on guitar. He twists, turns, pulls,
and pushes songs. He stretches melodies to their limits and comes back
for more. He finds his own inner voice in a song, defines it, and makes
it uniquely his own. Anyone hearing Pierre play knows right away to whom
he is listening. For his latest release, "Intuite", Bensusan has stripped
away some of the overdubbing of previous recordings to give us just him
and his guitar - but oh, what guitar! He takes us on a 6-string journey
through his mind's eye to the lands of Ireland, France, the Middle East,
and back again. The title cut, "Intuite", is dedicated to the great Arab
Oud player Munir Bachir, and I had to stop to make sure at times he
wasn't plucking that ancient gut-stringed precursor to our guitar.
"Bourree Voltige" is an electric exercise exhibiting both his right and
left hand technique, but not losing the melody for the sake of
showmanship. "L'Alchimiste" is perhaps the most straight-forward piece
of the CD, with a flowing, gentle melody. The opening track,
"Kadourimdou", finds Bensusan showing his varied influences within one
landscape, but highlights his remarkable command of the instrument and
improvisational skills like a jazz master. He weaves a subtle but
beautiful melody in "So Long Michael", a nod to the late Michael Hedges
which reminds us of his genius as well. The CD closes with the lovely
"Silent Passenger", a refreshing dessert to this fine 11-course meal of
musical feasting. Having loved his music for years, I think "Intuite" is
some of his best work yet.
Pearl Django, "Under Paris Skies", Modern Hot Records, 2002
The recognizable sound of hot club jazz as pioneered by Django Reinhardt and
Stephane Grappelli is such an archetype that it requires no introduction to even
the most casual of listeners, all while culling an immediate emotion from the listener's
memory. Pearl Django, the 21st century incarnation of this timeless music form,
capitalizes on this connection via an apparently unspoken bargain with the spirit of
Django: they will carry the torch contingent upon them making great music. The bargain appears
to be enduring magnificently into this, their sixth recording, "Under Paris Skies".
The dual guitars of Neil Andersson and Dudley Hill form the rhythmic backbone to Michael
Gray's violin and David Lange's accordion, and though the virtuosity of these two excellent
players never quite matches that of another current-day Django replica, Biréli Lagrène,
they conspire to reinvent the music into their own eminently listenable voice. The seven
original compositions dovetail stylistically and seamlessly with the jazz standards on this
CD, including two Reinhardt numbers, "Nuages" and "Swing 39". This is music which will
have you high-stepping down the Champs-Elysées on a sunlit spring day.
Pearl Django's's Website Buy it at Amazon.com
The Waybacks, "Burger After Church", Fiddling Cricket Music FCM-002, 2002
Like butter melting on a steaming ear of sweet corn, The Waybacks glide
smoothly from one musical genre to the next, whether it's bluegrass, Texas
swing, newgrass, country or Irish folk. Their infectious upbeat toe-tapper,
"Bright Place," recalls the effortless rhythms of Tony Rice. "The Return"
could have made the soundtrack to Mel Gibson's "Braveheart." And Blind
Blake's "Police Dog Blues" probably never sounded more comfortable. But the
quintet's finest moment on this 11-track collection may be their gorgeous
interpretation of Floyd Cramer's "Last Date." Cramer was a session pianist
who honed his "Nashville Sound" in the late '50s. His crossover hit, which
made it to No. 2 in 1960, is here revived with a whole new heart. The
Waybacks also demonstrate their affection vintage instruments (and list where
they can be heard), including an 1896 Martin 2-27, a 1928 Gibon L-5, a 1939
Martin D-18, a 1914 Gibson "A" style mandolin and a late 19th-century
Berlin-made Strad copy fiddle. Quite a few songs left in those instruments,
apparently. "Burger After Church" emerges as truly friendly music, and I'd
be lacking as a host if I failed to offer proper introductions of these
personable gents: James Nash on guitar, mandolin and vocals; Wayne Jacques on
fiddle; mandolin and vocals, Stevie Coyle on guitars and vocals; Joe Kyle Jr.
on bass; Chuck Hamilton on drums. The acoustic roots music of these talented
fellows should keep you as content as a hound with a bone under a shade tree.
The Waybacks' Website Buy it at Amazon.com
Anyone, "Anyone", Targo Records 1998
Anyone is guitarist Hanno Giulini and vocalist Eva Mayerhofer. Akin to the
jazzy, sophisti-pop musings of Sade, Everything But The Girl, Moorcheeba, and
Swing Out Sister, Anyone pleasantly purveys reflective and melancholy
compositions with a mellow, urbane veneer. Excelling via understated
dynamics, relaxed tempos and rhythms, and subdued soulfulness, this disc
falls neatly into the realm quiet storm and adult contemporary genres.
Giulini's mastery of the acoustic guitar is an alluring alternative to the
usual lush keyboard and string arrangements that dominate most easy listening
recordings. And Mayerhofer's smooth delivery is a perfect complement to the
rapid chord changes and complex harmonies that formulate each song. In the
spirit of bohéme cool, the first two cuts incorporate poems by E.E.
Cummings. The opening track "Anyone Lived In A Pretty How Town," bursts
forth in a funky vamp propelled by Gigu Neutsch's syncopated fretless bass
and Giulini's dexterous arpeggios. Track two,"The Greedy The People," takes
an ethereal twist as Mayerhofer duets with herself while Guiliani
multi-tracks counterpoint lines and harmonics in and out of time. Employing
a sold backbeat, sharp electric lead guitar, and translucent keyboard
voicings "In Between" emerges as a danceable pop tune. "Nothing To Lose"
expertly works in a few inventive blues phrases between the bold hammer-on
riffs and always present dominant 7th chords. "Tell Me" a coffee-house folk
waltz, lovingly quotes Bob Dylan and Joni Mitchell by way of a scattered
harmonica licks and an improvisational falsetto vocal solo as the song fades
out. Mayerhofer shines brightest on her sole solo composition, "Always" a
lounge-jazz offering which allows her ample opportunity to emote with sultry
expressions that show off her lower range. For new age fans there's "Rim
Brim Border," a sleepy track abetted with a bubbling log drum backdrop.
Anyone's Anyone avoids the musical clichés that saddle most jazz-folk duos.
The only element missing from this disc is a bona fide melodic hook.
Anyone's Website Buy it at Acoustic Music (Germany)
David Gogo, "Bare Bones", Ragged Pup Records, 1999
With the first strum of his guitar, David Gogo makes it clear that
his CD "Bare Bones" is no pop album. Acoustic blues leaves no room
for pretenders, and Gogo bares his soul to show that he's a true
bluesman to the bone.
There's no sense that Gogo is trying to be something that he
isn't. His style is smooth and honest, his gritty vocals testament that he is
not just singing the words, but feels them. You can also hear that he
is not using extra-lite strings on his guitar -- he plays loud with
plenty of heart. Unlike his fiery electric CD "Halfway to Memphis", there is no
attempt to dazzle the listener with his trademark SRV-inspired licks and blazing speed.
Instead, on "Bare Bones", Gogo grabs us with the heartfelt emotion he puts into his songs,
and he grabs us good. After listening to this CD I felt a little drained. The emotional
beauty and depth of feeling he unleashes is overpowering. All I wanted
was to grab my guitar, tune to an open G and play slide neck blues
until the sun came up and the whiskey was gone. Highly recommended!
El McMeen, "Breakout", Piney Ridge Music PRM109, 2002
I try to reserve words like striking, dynamic, and evocative for those musicians who stand
out from the multitude - those who do more than simply add novelty to sound - but it is
just these types of words that best describe the élan vital that El McMeen captures on his
latest recording "Breakout". Some might think that to render everything from gospel,
to Motown, to Scottish pipe jig music on a lone steel string acoustic guitar would indicate
a rather misguided approach to an otherwise highly complex practice of artistic discernment
and refinement. Yet it is McMeen's mixture of imagination, elegance, and non-standard
tunings that successfully materializes such artistic endeavors. On his first track
"Le Mans", McMeen's stunning display of quickness seems haunted by the early finger-style
technique employed by Michael Hedges and/or Alex de Grassi among others. Ornamented with
Joni Mitchell inspired string slaps and an impressive ability to exploit those
low-frequencies some guitarists too hastily ignore, McMeen's fascination with Detroit
pop and soul comes into view vis-à-vis an impressive three part medley consisting of
"My Girl" / "Stand by Me" / and "It's the Same Old Song". One of the most spectacular
moments of this recording is, without question, McMeen's exquisite version of
"Greensleeves": the fidelity and emotion that become inscribed into this one song are
truly spectacular. While "Breakout" includes only three compositions of the guitarist's
own making - one of which is an improvisation on a traditional tune - the remaining nine
melodies McMeen presents pulsate with his signature sound... full, confident, and precise.
El McMeen's Website Buy it here
©
David Kleiner
©
Patrick Grant
©Alan Fark
Buster B. Jones, "Just Us", Pazgunyak Music PM040602, 2002
©
Patrick Grant
©Kirk Albrecht
Buy it at Amazon.com
©Alan Fark
©
Fred Kraus
Listen to Bright Place (streaming mp3)
©
Tom Semioli
©
Dan Verkerke
©Bernard Richter
