November/December, 2014
David Youngman, "Trust," 2014
Any time you get a recording from someone who has placed in the top three at the Walnut Valley Festival fingerstyle
guitar championships in Winfield, Kansas, you should give a listen, because those players have some chops! David
Youngman had a prodigious September – he finished 3rd at Winfield, and he released a new CD of fingerstyle-arranged
hymns called "Trust." These 12 tracks reveal why Youngman is noted as an award-winning player, as well as a deep
reverence for these classics of the Christian faith. While Youngman obviously has the full arsenal of fingerstyle
techniques under his fingers – two-handed tapping, percussive effects, harmonics, arpeggios – he demonstrates a
simple approach to these tunes that doesn't cloud the wonderful melodies they contain. On the opening track,
"Christ the Lord is Risen Today," he uses tapping reminiscent of Billy McLaughlin's early work. "I Surrender All"
starts with harmonics, then segues to a mix of fingerpicking spliced with continued harmonics. "Trust and Obey"
is bright and lively with a staccato rhythm propulsing the song along. Youngman uses nylon string guitar on "Tis
So Sweet to Trust in Jesus" with effective counterpoint between bass and melody lines. Jazz chording and feel
drives "Great is Thy Faithfulness" with a key change adding texture. A calm meter paces "Be Still My Soul,"
while "Simple Gifts" uses droning bass notes and tapped melodies with percussive whacks against the wood of the
guitar for a one man band sound. A rhythmic pulse undergirds "All Creatures of Our God and King" while
Youngman brings forward the melody. One of Youngman's strengths is keeping the melody clear no matter what
techniques he is using. The disc finishes with the wonderful Charles Wesley hymn "What Wondrous Love is This"
rendered with power yet sweetness. Any lover of classic Christian hymns and skilful guitar playing will want to
get a copy of "Trust."
Julian Lage & Chris Eldridge, "Avalon," 2014
This relaxed, adventurous set features original instrumentals and well-loved songs from 20th century pop,
bluegrass, and country, performed by two gifted young artists. Guitarist and singer Chris Eldridge is a veteran
of the Infamous Stringdusters and the Punch Brothers, while Julian Lage has recorded and performed with jazz
vibraphonist Gary Burton and as a leader. The duo recorded this album in Easton, Maryland's Avalon Theater after
a string of performances in the summer of 2014. Eldridge sings and plays in a modern bluegrass style (it's not
surprising to know he was tutored by Tony Rice). Lage uses bluegrass as a jumping off point for improvisations
extending into higher intervals, incorporating tasteful chromatic runs and altered scales. The disc begins with
"Stone Cross", an abstract instrumental that alerts the listener to what will follow - this isn't "folk music".
The pace quickens with John Starling's crowd-pleaser, "Mean Mother Blues", sung by Eldridge. Other highlights
include "Whiskey Before Breakfast", Norman Blake's classic "Ginseng Sullivan", and Jimmie Rodgers' "Any Old Time".
Julian Lage's nine-minute instrumental, "Wilson's Waltz" begins with some pleasant meandering before settling into
the tune, which is in tempo, but with a quirky melody suggesting that Wilson may have been in his cups when he
inspired it. The entire set is well paced and invites repeated listening. I'm encouraged that young musicians
like Lage and Eldridge have selected a wide range of older material, presented it successfully along with their
own compositions, and played it so well. They'll help keep some great old tunes alive and inspire guitarists,
both young and old.
Rory Block, "Hard Luck Child," 2014
Rory Block has won many awards and accolades from the blues community over the last few decades; her Mentor Series
makes it plain to see why. She is both master and student of the country blues genre. As she says in the liner notes,
"While the rest of the world was busy with modern things, I wandered down the dusty path towards the past in bare
feet." A truer portrait of Block's music could not be painted.
Block's fifth album in the series features the music of seminal country blues legend Skip James. James's songs
have been recorded over the years by many artists, most notably, perhaps, by Cream, who had a hit with James's
"I'm So Glad" in the late sixties. Not only did Block study country blues through recordings; along with fellow
musician Stefan Grossman, she sat at the feet of some of the masters. In her series, she has paid tribute to
Mississippi John Hurt (Avalon), Rev. Gary Davis (I Belong to the Band), Mississippi Fred McDowell (Shake ‘em On
Down), and Son House (Blues Walkin' Like a Man). On each of the Mentor Series albums, strains of country, blues,
and gospel come through Block's fingers, guitar, and voice as if she'd been selected by the blues gods themselves
to preserve and protect a disappearing tradition.
What Block does here is not new, but it is masterful. She knows the terrain; she is fluent in the language.
The album opens with Block's own composition, the biographical "Nehemia James", which fits nicely alongside
James's tunes. Block also performs several of James's church songs, requisite fare for the genre, complete
with gospel choir inspired vocals. The most emotive track by far is "Jesus is a Mighty Good Leader."
The album was produced by Block and Rob Davis. The production is clean and powerful. Oddly enough, the best
way to listen to this acoustic album is on eleven. Rory plays her own signature model Martin guitar and uses
a 14mm deep well socket for a slide. Animal sounds and the occasional phone also make an appearance on the
album, giving it that ring of authenticity for which Block clearly strives.
Richard Thompson, "Acoustic Classics," 2014
After performing his first two numbers during a recent solo acoustic show, Richard Thompson paused, and offered,
"Well, those were a couple of mournful and melancholy songs." As the audience chuckled, Thompson waited a beat,
then said, "And I'm going to do several more." Which he did. And we loved it. The thing is, few can do ache and
sigh like Thompson. He still carries the love scars from his failed marriage to singer/songwriter Linda Thompson,
and his pensive takes on love, romance and the burden of life ring resoundingly true. This 14-track collection
pulls together compositions from throughout his career -- which has been quite a run, considering his debut as a
recording artist as a founding member of Fairport Convention in 1967. Interestingly, after all these years,
Thompson may have something resembling a hit album, as "Acoustic Classics" charted in Great Britain at number nine.
The CD is true to its name, with some of Thompson's best known work, including "Dimming of the Day," originally
performed with Linda Thompson on the 1975 album "Pour Down Like Silver," and which has since been covered by
Bonnie Raitt, David Gilmour, Emmylou Harris and the Blind Boys of Alabama. While his view of life is dark,
it's also beautiful, tending toward the intricate and poetic, filled with lyrical pleasures and surprises.
Though he started his adult career in the folk realm, he evolved more toward rock, but this CD shows that he
still cherishes his folk roots. It also provides a venue for Thompson to show what a terrific guitarist he is,
and well worthy of his 1991 Orville H. Gibson award for best acoustic player. Born in England, with his father a
Scot, Thompson incorporates his musical heritage into his work. While his palette can evoke the suggestion of
bagpipes or a pennywhistle, there is no denying his deft touch on the fretboard. He employs a pick-and-fingers
technique, playing bass notes and rhythm with a pick between his first finger and thumb, adding melody and
punctuation by plucking the other strings with his fingers. It's often intricate, occasionally dazzling, and
always pleasing. Arrangements throughout are stellar. His voice is cooly passionate, and tends toward long,
drawn-out vowels, but he can rock out as needed. A nice change of pace is "Valerie," a near-rockabilly ode to a
frenetic love of long ago. Speaking of ode, there may be no better salute to girl and bike than his "1952 Vincent
Black Lightning": "Red hair and black leather, my favorite color scheme." The Scottish-inflected "Beeswing" – "so
fine a breath of wind might blow her away" -- must hold a special place in Thompson's heart, as he has named his
recording company for it. It's fascinating to hear these heart-on-a-sleeve songs revisited with just voice and
guitar. It's a rare glimpse into the heart of an artist who has provided us with his inspiration for decades.
As he has said on his website: "In most cases, these are acoustic versions of songs that were originally recorded
electric, and there have never been acoustic studio versions, just some live recordings where I wasn't always
satisfied with the sound or the performance. Also, some of these songs are 45 years old. I sing them and feel
about them differently, and it's nice to capture the evolution."
Adam Cantor, "Sceyence," 2014
Prepared to be wowed by "Sceyence," a new release from Adam Cantor. Cantor is a fingerstyle whiz, a young up-and-comer
in the percussive lineage of Michael Hedges, Don Ross, Antoine Dufour, and Andy McKee. But unlike many acoustic
guitar followers, Cantor doesn't overdo the rhythmic tapping, using it instead as just an occasional accent, and
shying away from flaunting his virtuosity for its own sake. Compositionally Cantor's pieces have the feel of
extended riffs yet move through discrete sections with different moods and tonal qualities, laced with trace
elements of blues, jazz, and even rock. His pieces have a dreamy, hypnotic feel and flowing quality, from the
gentle "Darling Buds of May" to the spritely "Apricity" to the rumbling darkness of "Scorpio." Cantor's classical
training shows in his flawless right-hand technique - impeccable arpeggios and the use of fingernails - just
listen to the gorgeous, layered, title track. What especially distinguishes his playing are the clarity, color,
luscious tone, and fluidity he brings to every piece. (As a bonus to listeners, he posts regularly online, where
his technique can be especially appreciated.) Other standouts here are the extended mediation "Sparrows," with
its haunting melody, and the supercharged "Symbiosis." Impressively, the longest pieces are among the best,
where he really stretches and develops his ideas. Cantor has talent to spare, but that's not all to admire about
him. He's also a third-year medical student and is donating 100% of the proceeds of this album to charity-all of
which makes him an exciting guitarist to watch.
Thanos Mitsalas, "Contemplation," 2014
Five years ago I had the great pleasure of reviewing Thanos Mitsalas' debut CD, which I found to be movingly personal
and expressive, while also being remarkably clean and articulate. And today, Mitsalas' newest offering, entitled
"Contemplation", is quite simply one of the finest recordings I've encountered in my decade of writing reviews. Like
before, his playing is stunningly accurate, crisp, and full of life. From beginning to end Mitsalas marries all
of the elements of great classical guitar playing: enormous and evocative tonal range, world-class command of the
instrument, and a unique and defining musical voice. The repertoire he selected is interpretively and technically
challenging, oftentimes peppered with temperamental dynamic nuance, and at other times marked by enormous and moving
dynamic juxtapositions. Mitsalas opens with a swaying and meditative work by Sergio Iannarelli entitled 'Per Sofia'.
The piece delicately transports the listener into Mitsalas' musical world, drawn not only from a traditional-classical
perspective, but also heavily influenced by modern Spanish and South American styles. Next are for four Breviduras
composed by the legendary Brazilian guitarist and composer Sergio Assad. Had the entire disc been only these four
pieces, I may have been satisfied, as they straddle a vast musical range, and require Mitsalas to explore the
extremes of the instrument and his technique. The disc continues through several other lovely Spanish/South
American works before it finally, and somewhat surprisingly, closes with Mitsalas' own arrangement of JS Bach's
moving 'Chaconne' from the D minor Violin Partita. Why, after so many modern, Latin compositions are we suddenly
thrust back to the Baroque period? From my perspective, this is very similar to what Bach had originally intended
with the Chaconne. As the last movement of a violin partita, it was a disproportionally enormous and musically
deep finale to an otherwise innocuous set of works for violin. Here again, just as Bach originally imagined it,
we find the Chaconne placed where no one would expect it, concluding a seemingly unrelated set of works with a
single massive and moving musical gesture. I can't imagine a better conclusion to this disc, as Mitsalas has
delivered an absolutely impeccable recording that will definitely be turning heads, beginning to end.
Harduo, "Adamantis Haurora," 2014
Italian guitarists Raffaello Indri and Andrea Varnier create a progressive rock manifesto on their current release
"Adamantis Hauroro." This is their second acoustic collaboration and more than fulfills the promise and prospects
established on their auspicious debut. While both musicians began their professional careers playing electric rock
and metal, they soon developed a passion and admiration for the sonic intricacies of the acoustic guitar. Aptly
calling their collective "Harduo," the guitarists seamlessly synergize their electric pasts to craft an innovative
acoustic future. They construct challenging and inspiring sonic landscapes with adventurous rhythmic backdrops and
impressive single note improvisations. The disc opens with the dramatic and deliberate "Meridian Fog Dance"
setting the stage for the recording with dissident counterpoints and histrionic chord progressions. "Hell Tremendo"
sounds like a Parisian thoroughfare, with rapid, swinging unison rhythmic patterns and intense harmonic flurries.
The two even offer a melodic, pastoral, and passionate reading of the Iron Maiden classic "The Clairvoyant."
The blistering title track, "Adamantis Hauroro," begins with incendiary single note motifs flowing effortlessly into
folk inspired reflective interludes. Simone D'Eusanio and Christian Bortok join the group on this track on
violin and flute delivering intricate and sophisticated improvisations. The album ends with an all-electric
anthem "Meridian Metal" an atavism to their rock roots and possibly foreshadowing a future project. This
recording is highly recommended for both progressive rock fans and listeners of acoustic music, wanting to
expand their musical horizons, and hear the acoustic guitar played in a unique and inventive setting.
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "Trust and Obey"
Listen to David Youngman at our podcast 
©
Patrick Ragains
Julian Lage's Website | Chris Eldridge's Website
Buy it at Amazon.com
Listen to "Any Old Time"
©
Chip O'Brien
Buy it at Amazon.com
Listen to "Special Rider Blues"
©
Fred Kraus
Buy it at Amazon.com
Listen to "Valerie"
©
Céline Keating
Buy it at Amazon.com
Listen to "Loose Change"
Listen to Adam Cantor at our podcast
©
Timothy Smith
Buy it at Clear Note
Listen to "Per Sofia"
©
James Scott
Buy it at Amazon.com
Listen to "Meridian Fog Dance"
