September/October, 2012
Ry Cooder, "Election Special," Nonesuch Records 2012
Ry Cooder is mad as hell and he's doing more than not taking it anymore. He's dishing it out mercilessly on
"Election Special." Don't fret whether election tunes have a short shelf life; we still know campaign related
songs dating back to when they substituted Washington's name for "King" in "God Save the King." Cooder rips his
lyrical content from the headlines, but puts the tunes in iconic settings from the American landscape. "Cold,
Cold Feeling," a twelve bar blues with slide guitar and a dirty vocal sound that's pure Cooder, appropriates a 1951
T-Bone Walker title for President Obama's lament about Congressional obstructionism and his fear that "Jim Crow's
comin' round once more… they're gonna re-segregate the White House." "Kool Aid," uses a swampy sound for George
Zimmerman's regretful epiphany ("Kool Aid, runnin' round my brain"). The nod to "Cocaine Blues" is one of many
references to familiar songs. The opener, "Mutt Romney"-- funkified by gutbucket percussion and steel guitar -- features
a certain canine's complaints about a master who's "got to bottle up and go." "The 90 and the 9" hearkens back to
Woody Guthrie. In the Hiatt reminiscent rocker "The Wall Street Part of Town," Cooder adds a sweet mandolin solo
to his bass, electric and Occupy themes ("Divide and rule, that's always been their plan.") "Goin' to Tampa" brings
an old time feel to Cooder's good old potshots ("A Tea Party woman told a Tea Party man, I'm gonna make love to you
with a gun in my hand."). Cooder's not working with a lyrical scalpel here; his words are blunt instruments softened
by gleeful performances. Cooder saves his bluntest words for the closer, "Take You Hands Off It" -- written with his
drummer, son Joachim ("What're sanctimonious hands doin' in my reproductive rights?"). Minor 7th takes no official
stand on the issues. Every act is a political one, but there are no party politics here… just parties. So, now
that this issue -- and a staff member or two -- is loaded, we're turning up Cooder's latest on the iPod. What other
record features a Zevonesque song you can dance to… about "Guantanamo?"
Don Ross, "Upright & Locked Position," CandyRat Records 2012
A mix of old and new compositions populates this 14th recording by Canadian fingerstyle guitarist Don Ross. As
he reimagines vintage tracks that go back as far as 1990, Ross proves that the cohesion is in the performance.
The title track features a charming melody that would not be out of place in an Indigo Girls set. The melody is
bolstered by harmonic chord play interspersed with propulsive cross rhythms in a masterful performance that
foreshadows things to come. Ross, a two-time winner of the U.S. Fingerstyle Guitar Championship in 1988 and
1996 invokes a wordless vocal duo on the 1990 composition "Wall of Glass" with his wife Brooke Miller. The
track offers echoes of Strunz and Farah, the only difference being that he's only one guy! The extended solo
before the last chorus is a percussive tour de force. His technique of embedded melody in a chordal attack that
seems to alternate at times between flamenco and frailing, as demonstrated to excellent effect in "New Aaron,"
reflects a unique talent that seems still to be a bit of a secret in the states, despite his extensive catalogue.
When he plays, I hear voices, human tones. He is one of the masters of what one might imagine as "spoken word
guitar," where sharply articulated notes convey emotions as complex as any well-sung lyric.
Kelly Joe Phelps, "Brother, Sinner & the Whale," 2012
One of the most appealing aspects of singer/songwriters is their fearlessness in wearing their hearts on their
sleeves. Whether revealing their most innermost ache, shedding light on the human condition, or just brimming with
lust, these artists connect us to our humanity. It just hurts so good. Of course, if their compositions are hummable
and the lyrics are quotable, well, that’s right up there next to godliness. Speaking of which, Portland slide guitar
virtuoso and fingerstylist Kelly Joe Phelps takes a religious turn with his ninth full-length CD, "Brother Sinner
and the Whale." The title alludes to the Bible’s book of Jonah, and many of the album’s lyrics were inspired by
those passages. Phelps, who had a Christian upbringing, had not previously turned out anything thematically akin
to this work, which he has said would probably be referred to as his gospel album. But in true singer/songwriter
fashion, this solo effort focuses more on Phelps’ life journey and his wish to express his feelings rather than
fixate on the gospel music genre. His own explanation: "I’d arrived at a place where I was sinking. I had to do
something or my head was going to blow up or my heart would stop. When I found a way to allow myself to open up
to creative impulse, this is what was staring me in the face." To his credit, his well-crafted compositions relate
his story while displaying his sure-handed guitar work, and his sandpapery voice has never sounded better nor more
earnest. The titles of the songs -- all but one of which are his own – pretty much say it all: "Talkin’ to Jehova,"
"Hope in the Lord to Provide," "Pilgrim’s Reach," "I’ve Been Converted," "The Holy Spirit Flood," "Brother Pilgrim."
While the theme is rediscovering one’s lost faith, the musical approach recalls the easy-rolling fingerpicking style
of Mississippi John Hurt. The liner notes read like a prayer from the pulpit, and the artist feels the power of God.
But the real power is in the spirit conveyed by Phelps: Authentic. Assured. Potent.
Adam Miller, "Delayed," 2012
Australian Adam Miller is an accomplished fingerstyle guitarist and composer who plays steel-string acoustic on
this collection of fun, groove-infused solo performances. The disc begins with "Noah's Little Nod", and Miller
doesn’t waste any time displaying his strong suit of funky melody lines played over a driving bass line (in fact,
Miller named the tune after a toddler nephew who nodded his head in time to the piece). While much of the program is in this
vein, he varies the tempo on the bluesy "Wedding Speech", which reminds me of James Taylor’s fingerpicking -- that is
until he starts sputtering out lead lines. "That Way" features a strong walking bass line, chord stabs, and more
funky treble lines. On "India", he evokes a westerner’s first encounter with the East. The next tune "The Sleazy
Song", returns to Miller’s preference for staccato melodies over a driving bass, this time adding more a more
greasy feel (hence the tune’s title). "Last Kiss", "That Way", and other slower tunes on the disc would work
well with lyrics, which Miller could pursue in the future. Not that he’s particularly limited -- his grooves are
strong enough to make him a plausible accompanist for Stevie Wonder. The final tune, "Delayed", is a departure,
as Miller multitracks several guitars in a blues-based meditation. While taking influences from funk, bebop, and
guitarists like Martin Taylor and Charlie Hunter, Adam Miller has successfully developed an original voice as a
composer/performer. I recommend this CD and look forward to more music from him.
Adrian Legg, "Slow Guitar," 2011
It’s hard to let go of old friends. Guitarist Adrian Legg has been playing for a while now, and some of those old
friends – songs enjoyed by him and his listeners – were not available any longer. So Legg self-released
"Slow Guitar," a collection of now out of print tunes along with live versions of fan favorites to keep the
memory alive. In the process, we get treated to more tasty guitar playing from one of the recognized greats in
fingerstyle guitar over the past 25 years. This is not one of those records you take to get the blood rushing,
full of fast and furious licks and displays of chops. But it is a CD to sit and open your ears for, a repast of
deliberately constructed guitar work that weaves sweet melodies across all six strings. There’s really not much
to dislike if you enjoy fingerstyle guitar. "L’Amour Manque" is a reflective piece tinged with sadness, hence the
title ("Love Missing" in English). Legg includes three waltzes on the CD – "A Waltz for Derroll," the opening cut;
"Mrs. Crowes’ Blue Waltz"; and a live version of "A Waltz for Leah." "Mrs. Jack’s Last Stand" is a study in rolling,
cascading arpeggios with an alternating bass line, hypnotizing the listener into a serene musical state. "Karen" is
mostly chordal with an accompanying bass line, simple yet full of life. The four live versions have plenty of reverb
added to the acoustic-electric sounds of Legg’s custom Bill Puplett guitar, lending an ethereal presence to his
playing. "Nail Talk" may sound painful, but it’s really quite pleasant, almost dreamy. "Emneth" – one of his
better-known pieces, perhaps, is vibrant and makes you want to sing. Overall, this is a great collection of the
great body of work Adrian Legg has given us for a while. It sure helps keep the memories alive.
Paul Benoit, "Ragpickers," 2012
Roosty, bluesy, literate records such as "Ragpickers" never go out of style – which is a rare quality in these
harsh, unforgiving America’s Got Talent days of synthetic fame over artistic substance. Thankfully we have
artists such as Paul Benoit who still hone their craft the old fashioned way – on the road! With eighteen
albums in his canon (including collaborations) and tours on more continents than I can count, this prolific
veteran singer-songwriter-guitarist-poet is an astute observer of the human condition. Like the best and most
enduring music that the singer songwriter genre has to offer in modern recorded history (you can start with Bob
and Joni on through to Tracy Chapman and Jeff Buckley to Cat Power) Benoit, a born story-teller, is comfortable
in a myriad of styles, ranging from folk, blues, country, and Americana. "Ragpickers," which combines band
performances with solo acoustic offerings, excels with subtle melodies and suburb musicianship from Benoit
and his well-traveled posse: drummer Dan Weber, Tige Decoster on upright and electric bass, and keyboardist
Hugh Sutton. "Bloom" kicks off the album with a combination of bravado and romance – Benoit’s concise licks
echo such guitar masters as Robbie Robertson, Mike Campbell, and Mick Ralphs – all the notes mean something!
Dig the way Benoit scats in tandem with his economic riffs on "Black Bag Blues" -- Taj Mahal would be mightily
impressed. The chords and melody to "Don’t Hate Me" evokes the smoky acoustic renderings that The Stones pulled
off so well on Sticky Fingers and Exile…if Benoit had hung around Gram Parsons instead of Mick and Keith – this
would be their song. Weber’s double-time snare work provides a perfect foil for Benoit’s funky slide playing on
"But Not You." And if you appreciated Warren Zevon at his darkest, you’ll revel in the sardonic glory of "Rich
Girl" -- a waltz abetted by Sutton’s honky-tonk piano, and rendered by Benoit with an equal dose of sarcasm and
irony – which is especially relevant these tough economic times we live in. Kudos to engineer Blake Harkins:
he affords "Ragpickers" a warm mix – you can hear every instrument as if it’s in the room. No two songs on this
disc are repetitive – Benoit’s meld of multiple genres will keep listeners coming back for more. If we’re still
around in ten, twenty, thirty years – "Ragpickers" will still be worth a spin.
James Filkins, "Summer Sands & Sleeping Bears," 2012
Michigan guitarist James Filkins has released another fine CD of guitar music (see Minor 7th review of
"Borderline Normal" from our March/April, 2007 issue). Filkins plays most of the 13 tunes solo, but uses
some fine ensemble players as well (flute, whistle, fiddle, guitar) to accent and create fuller textures to
his songs. Filkins doesn’t just repeat endless melodic phrases, but develops his ideas as a mini-musical
journey, and we come along for the ride. His style is at times fluid, at time filled with stops and starts
as he changes directions and we’re taken to a new place. Apparently his inspiration for the songs on the disk
is Michigan’s Sleeping Bear Dunes National Lake Shore, and he wants us to come along as he explores what must
be a place of beauty and grace (though I have never been). On "Pondering Poe (Cognac Dreams)", an octave violin
adds an elegiac undercurrent while Filkins explores the melodic paths he leads us down. Zac Leger’s fine whistle
work brings a sprightly playfulness to "The Five Alls." The solo work on "Minding the Gap" uses well-placed
harmonics to add pauses to the fingerpicked melodic ideas. "Sleeping Bears (Winter Solstice)" conjures images
of a peaceful place. Filkins guitar work is reflective and never hurried, like you would want to spend time on
a lake shore. The brief "A Loon’s Lament" finds its melody from Tim Lorsch’s violin, while the guitar part sets
the table for the piece. As we leave the CD, Filkins leaves us with "Farethewell/Casting Off, a musical
departure that expresses the peace and joy of having been here, and the hope to return again sometime. And
so it is with the guitar music of James Filkins.
Dienne Manouche / Dario Napoli, "Gypsy Bop," 2011
This is a great CD of gypsy jazz from DIenne Manouche, an acoustic trio from Italy comprised of guitarists
Dario Napoli, Emile Requin, and Bozorius on bass. Napoli plays lead guitar with both the requisite skill and
inventiveness required of the genre; he could hold his own with Stochelo Rosenberg, Fapy Lafertin, or other
contemporary gypsy jazz masters. The group does a fine job on gypsy standards like "Tears", but really captured
my interest with several bop chestnuts like their opener, "Night in Tunisia", "Donna Lee", "Moose the Mooche", and
"Yardbird Suite." These tunes sound great gypsy-style, and this sort of repertoire helps this group stand out. Two
originals, "Mondello Beach" and "(Knocking on) Django’s Door", are solid contributions to the program. The CD ends
with a masterful and inventive performance of Django Reinhardt’s "Nuages", which Napoli begins as a solo, then adds
a tasteful second lead track after the rhythm section joins in. This beautifully-recorded disc will please listeners
and musicians alike -- the only thing one could ask for is...more.
GuitArt QuArtet, "Gismontiana," GHA Records 2012
GuitArt Quartet gives a thrilling performance of the music of Cuban composer Leo Brouwer and Brazilian jazz
composer Egberto Gismonti on "Gismontiana." Music written to be performed by four guitars is relatively new; all
the pieces on "Gismontiana" were written since 1970s and reflect the classical and avant-garde quality of Brouwer's
compositions laced with the rich rhythms and percussive effects of Brazilian music. The quartet (Gianluca Allocca,
Oscar Bellomo, Lucio Matarazzo, and Gianvito Pulzone) brings impeccable playing, nuance, and a purity of expression
to this virtuosic repertoire, which includes an astonishing range of techniques, textures, and sounds. (On "Cuban
Landscape with Rumba" pieces of tissue are used under the strings to modify the color.) The title of the CD draws
from the concerto Gismontiana, which premiered in 2008 and contains whiffs of Beatles melodies. While the guitars
sometimes create one integrated sound, most often the compositions take advantage of the variety of voices in
instrumental cat and mouse or call and response. A hallmark of many pieces is a contrast between lyrical/melodic
and atonal passages or percussive and tinkling chiming effects and fast-paced bass runs and rumbling tremolos,
as on "Cadenza sobre Gismonti." One of the most evocative pieces is "Cuban Landscape with Rain," a tour de force
that begins with a slow building up of clear tones to mimic pattering rain, which increases in intensity until
it thunders. With its mastery of tone, restraint, and delicacy, the GuitArt Quartet magnificently honors the
breadth and beauty of Egberto Gismonti's and Leo Brouwer's challenging work.
Joe Carter, "Both Sides of the Equator," 2012
Joe Carter pays homage to the legendary pianist Bill Evans and the
music of Brazil on his current release "Both Sides of the Equator."
Carter teaches at the Hartford Conservatory and Sacred Heart
University, as well as pursuing his doctoral studies at New York
University. He is also an international performer leading eclectic
ensembles from New York to Paris and from Rio to Bombay. Carter has
recorded and performed with some of the true, iconic legends of Jazz
including Art Farmer, Lee Konitz, and Rufus Reid. On "Both Sides of
the Equator," the consummate guitarist delicately weaves obscure
Brazilian compositions with seminal standards from the American jazz
cannon. Joining Carter on this ambitious recording are double bassist
extraordinaire David Finck and Brazilian percussionist Ze Maurico.
The album begins with "Nos E O Mar" where Carter’s opening chords on
his nylon stringed guitar sound remarkably like an acoustic piano. The
following "I’ve Never Been In Love Before" features an intuitive and
delicate interplay between the three gifted musicians. There is a
timeless quality to the collective’s playing, which does not fall prey
to the short-lived musical inclinations of the day. One hears echoes
of the late Baden Powell on the tender "Valse De Eurice," while
Carter’s reading of "Waltz For Debby" bring to mind Bill Evan’s
expressive and sensitive musical explorations. The guitarist is also
a gifted composer and his playful "Viktor with a K," is a catchy Bossa
Nova dedicated to the leader’s son. The album ends with another Carter
composition "Variations on a Theme By Bill Evans." Loosely based on
the pianists lyrical and pensive "Prologue" from his "Live at Town Hall"
recording, Carter is able to capture the essence of Bill Evan’s
ubiquitous style. This is a heartfelt tribute and exceptional
recording featuring enduring compositions and masterful playing. "Both
Sides of the Equator" is highly recommended for all listeners of
contemporary improvised music.
Sarah McQuaid, "The Plum Tree and the Rose," Waterbug Records2012
Her rich alto voice is like honey poured into wine - intoxicating but not overly sweet. She sounds like a Celtic
singer more than anything else although she mixes it up with many folk styles including an Elizabethan ballad
("Can She Excuse My Wrongs") and a thirteenth century song written by Ellian du Cadenet. Most songs feature her
lovely finger picked guitar but on the latter, "S'Anc Fuy Belha Ni Prezada," she plays an Indian shruti box. It
offers a haunting drone while a South American tiple (a stringed instrument with a high pitch) played by Gerry
O'Beirne offers color. They certainly aren't traditional for this type of song but the soundscape they create
is perfect. Most of her guitar work feels open and crisp; I suspect that a lot of it is in an alternative tuning
since she wrote a highly regarded book about Irish music and the DADGAD tuning. "Lift You Up and Let You Fly"
is an original about letting a daughter spread her wings. "Hardwick's Lofty Towers" tells the interesting story
of Bess of Hardwick, an astute woman from the 1500's who was wealthy not because she married four times but
because of her sharp financial skills, a rare thing in those times when most marriages were arranged. There
are layers of beautiful vocals and acoustic instruments in "Kenilworth," a song about poor Robert Dudley who
tried to woo Queen Elizabeth I with a beautiful garden but was unsuccessful. John Martyn wrote "Solid Air" as
a tribute to Nick Drake and here she gives it a bluesy feel with just her vocal, guitar and some very cool
trumpet from Bill Blackmore. Although "The Sun Goes on Rising" is about hard financial times, it contains a
lot of hope: "Morning comes and amber turns to grey / The sun goes on rising every day." She co-wrote "What
Are We Going to Do" with Gerry O'Beirne and unlike most of this album, it has a contemporary feel with its
modern lyrics and arrangement that includes congas. "New Oysters New" is a unique a cappella piece with
three contrasting but complimentary voices. The parts weave in and out as do the vocals in the closing cut
"In Gratitude I Sing," a six part round sung with Niamh Parsons and others. Gorgeous. The liner notes are
extensive and give background for each cut. Refreshing in a time when many artists are forgoing the printing
of lyrics or song background in CD booklets.
©
David Kleiner
Buy it at Amazon.com
Listen to "Mutt Romney Blues"
©
Steve Klingaman
Buy it at Amazon.com
Listen to "Upright & Locked Position"
©
Fred Kraus
Buy it at Amazon.com
Listen to "Talkin' To Jehovah"
©
Patrick Ragains
Buy it at Amazon.com
Listen to "Noah's Little Nod"
Listen to Adam Miller at our podcast 
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "A Waltz for Derroll"
©
Tom Semioli
Buy it at Amazon.com
Listen to "Black Bag Blues"
Listen to Paul Benoit at our podcast
©
Kirk Albrecht
Buy it here
Listen to "The Five Alls"
©
Patrick Ragains
Buy it at Amazon.com
Listen to "Hungaria"
©
Céline Keating
Buy it at GHA Records
Listen to "Toccata - Leo Brouwer"
©
James Scott
Buy it at Amazon.com
Listen to "Nos E O Mar"
©
Jamie Anderson
Buy it at Amazon.com
Listen to "Hardwick's Lofty Towers"
