Winter 2022
Jacob Seyer, "Western Skies," 2022
Jacob Seyer is back after a four-year interregnum, and he returns in style. His new album, Western Skies, is full of fire, grace, and beauty, with compositions rich in rhythmic and harmonic interest. Seyer pulls a
nice trick with these compositions: he proves that quiet and meditative doesn't mean dull and repetitive sweetness and light. In his notes in the book of transcriptions available on his website, Seyer writes that,
after moving home to Bellingham in the Pacific Northwest, he started meeting a friend in the Lettered Streets district. The friend advised Seyer to, basically, lighten up: focus more on composing to tell a story (and
having a beer and a jam) than on theory. That's always good advice, and so what we get with Western Skies is a collection of songs without words. The tunes range from the irresistibly bluesy shuffle of "Groundhog," to
the church-in-the-woods hymn "Sacred Hallways" (a tune inspired by Trevor Gordon Hall) to the melodically ambient "Celeste." Seyer's technique is impeccable, and he uses it for dramatic effect, as in the opener, "Awake,"
with its gorgeous string rakes that set fire to the groove. Then there's the quintuplet-driven "Equinox," with its echoes of Tigran Hamasyan, whose piano work, Seyer says, provided the launchpad for several of the songs on
Western Skies. Seyer brings all the modern fingerstyle techniques and tropes together in "Mothership," a tune he says owes something to Don Ross and is a nod to the funk of Parliament/Funkadelic. The album closes with a
gorgeous arrangement of the theme to a video game, "Outer Wilds." The entire album was mixed by Antoine Dufour, so that Seyer's already-rich voicings, harmonies, and rhythms are supported by a rich cloud of reverb that
bathes the sound in light. Seyer's Western Skies is a keeper for sure.
Alan Gogoll, "Summer Melodies," 2022
Alan Gogoll is an Australian fingerstyle guitarist with prodigious and unusual technical skills. He's been recognized accordingly, having won top honors in the 2020 Magic Guitars International Guitar Competition
and first place in the 2019 Furch Guitar International Guitar Competition. He's best known for inventing something he calls "bell harmonics," a technique in which he produces artificial harmonics with both hands
simultaneously to produce several tones at once. But Gogoll's music is about much more than astonishing technique. He's a prolific composer, with close to 50 releases. His latest, Summer Melodies, is a meditative, yet
upbeat, tapestry of sounds and moods. Recorded in single takes, the pieces have immediacy and an expressive, joyful quality. His style includes combinations of arpeggios interlaced with harmonics and strong rhythmic and
percussive elements, and his compositions are strong on melody, repetition, and intricate variations. As if illustrating his sense of structure, he bookends the album with "Monday's Melody" and "Friday's Melody."
"Monday's" features a repeated series of chords with flurries of twinkling harmonics, while "Friday's" has astonishing runs of harmonics and pizzicato effects. Several pieces are slower paced and sweet and poignant,
such as "Fox Canoe," featuring showers of fast-paced harmonics running up and down the strings; "Cello Moon"; and the beautifully melodic "Porcupine Summer." There's a bit of Celtic flair to the lovely "Lia's Dance"
and a bit of fun to "Cats and Ladders," where it's easy to imagine cats running up and down a ladder. The latter piece is one of most interesting in terms of composition, as it switches to a kind of jazzy interlude "B"
section before heading back to the main melody and then on to several variations. Lucky for guitarists, Gogoll has produced videos of his pieces so it's possible to see his jaw dropping technique in action. For instance,
on "Drops of July," he plays measures of complex harmonics with just the left hand before the right hand makes an appearance. The videos make it easier to understand that he is doing completely separate things with each
hand, as well as to follow the complementary lines of the music. Of all the pieces, the one that most takes the breath away-for its beauty, bell harmonics, and double-stop pull offs-is "Otter Rain." This sensational
piece, most emblematic of Gogoll's style, is what won him Guitar Player's 2020 Acoustic Guitarist of the Year award. Summer Melodies serves as a wonderful introduction to a dazzling talent.
John Stowell / Dave Glenn & The Hawcaptak Quartet, "Violin Memory," 2022
Guitarist John Stowell is a respected jazz player, known for his creative (and often difficult-to-play) chord voicings. That technique is very much in evidence in this set, but the focus is on his compositions.
Trombonist Dave Glenn noticed that their duo performances had a chamber music quality, which inspired him to incorporate string quartet arrangements in this program. The core sound is still the duo: Stowell on nylon
string guitar (plus a bit of fretless baritone guitar) and Glenn's trombone. The string quartet mainly plays introductions to the duets, brief pieces that lay out the melodic themes and harmonies of Stowell's compositions.
"Social Butterfly" begins with a sprightly contrapuntal feel. "Remembering Laura Frink" is a gentle waltz, while "Ghost In The Corner" breaks the pattern by using the strings as part of the duet arrangement. "I Wish"
is a contemplative piece that gives Stowell about three minutes of unaccompanied space before the trombone joins in. "Nanti Glo"
introduces the fretless baritone guitar, which Stowell uses to double the song's theme. He does the same thing in "Lonely Blue Angel" and "When Jasper Grows Up." It's a cool sound, so it's a shame that it isn't
used as a solo voice. "Fun With Fruit Intro" distinguishes itself with extensive use of pizzicato, and the closer "Foundation's End" is a sprightly composition with string quartet accompaniment.
Stowell is a striking player and composer. The electric guitar is his usual instrument, but his acoustic playing is equally strong. The addition of a string quartet makes this album a unique entry in his
discography and a notable acoustic jazz guitar project.
Alberto Lombardi, "Through the Years," 2022
Italian guitarist Alberto Lombardi has toured with some of the most influential acoustic guitarists of our times. He has shared the stage with Peter Finger, Muriel Anderson, Tommy Emmanuel, as well as Tim Sparks,
which only stands to reason since he is endowed with seemingly infinite fluidity, exquisite touch and brilliant articulation. All of which are clearly on display on Through the Years, his third acoustic guitar
release. Not unlike his first two fingerstyle albums, Birds (2016) and Fermi Paradox (2018), Lombardi creates impressive and nuanced arrangements of a varied group of songs and utilizes them as vehicles for his
virtuosity. Three minor themes or groupings are present here: Motown, The Beatles, and the Holocaust, with two brief, yet innovative interludes in between. On paper that might seem a bit discordant or unharmonious,
however, in Lombardi's hands it is nothing short of entertaining, evocative and in moments breathtaking. The album opens with an energetic version of The Supremes "You Can't Hurry Love," the first of four
Motown numbers that includes "I Heard it through the Grapevine," "Isn't She Lovely," and a rhythmically delightful version of the Temptations classic "My Girl." It should be said that Motown is not new territory for
Lombardi. In fact, if you want to add a Motown tune to your fingerstyle repertoire, I highly recommend Lombardi's Motown Guitar for Fingerstyle Guitar tutorial. The expressive arrangements and articulate performances of
"The Long and Winding Road," "Fixing a Hole," and "Eleanor Rigby" convince me that Lennon and McCartney knew that these classics went way beyond the pop charts. The same can be said of Lombardi's fretwork on
"My Favorite Things," which is now my absolute favorite version of this classic, made new and vibrant with Lombardi's kaleidoscopic-like fretwork. The phrase "jaw dropping" comes to mind. His command of speed,
rhythm, accuracy and tactile articulation are on full display on his original compositions "Through the Years" and "Ah! The 80's." On both tracks he gets creative using a drum machine, bass keyboards, neither of
which seem out of place in the eclectic nature of this album. "Through the Years" begins with a sweet melody and then bursts into a frenetic, hyper-driven rhythm before returning to the melody underneath an
impressive -surprise- lead vocal. The following track, Supertramp's "Breakfast in America," is another surprise and further proof of Lombardi's unique ear and talent. If one were to simply read the song selections,
the final section, consisting of the Holocaust themed compositions "La Vita è Bella," "4 : 3 : 1943," "Bella Ciao," and the theme from "Schindler's List," would seem rather incompatible with the dozen preceding
tracks. Perhaps, this is why in the case of Alberto Lombardi it is best to let your ears process and forget everything else for his ability to communicate melody and sonic intricacies with verve, eloquence,
integrity and emotion is effortless, often effervescent, and guaranteed to transport, transcend, and tantalize any listeners' auditory cortex. Simply put, Alberto Lombardi is a world class talent and artist.
Chris Brain, "Bound to Rise," 2022
In British alt folk music, Chris Brain is a force to be reckoned with--albeit a very gentle one--and
a proselytizer for the genre. Moving from heavy metal as a teen to traditional music, he found
himself playing to audiences of older listeners. Setting out to draw a younger crowd, Brain had
the chutzpah to organize an alt folk festival at the Hyde Park Book Club. Its success led to
recognition for Brain and monthly shows at that venue, located in a music heavy area thanks to
nearby Leeds College of Music. A burgeoning alt folk scene resulted. The intimacy and
downright humanness of the music inspired Brain. In Bound to Rise, he works hard to maintain
that feel by recording live takes to analog tape. Never straying too far from the natural world,
Brain’s lyrics help listeners stay rooted in place. His warm, legato vocals--he’s often compared
to Nick Drake--fine acoustic picking, and spare arrangements lend a meditative feel to the
album. The title track opens with an aspiration, "I want to feel the sun on my eyes." Though "all
is dark under hazy skies," nature’s unerring rhythms trump all uncertainty. In "Bird Count,"
Brain admires the freedom of all flying things (comparisons to Joni Mitchell also abound). The
arrangement is lovely. Solo guitar opens. Simeon Walker’s piano enters, playing single chords at
first, but a duet ensues. Mary Jane Walker’s violin enters with long notes. The track ends with
interplay between the instruments. So nice! "Chance to See," maintains contact with nature;
"all is still, but the swaying of a tree," and--even better--"now you’re here with me" (with
"you" both a lover and the listener). "Golden Eagle" offers the record’s prettiest vocal and
guitar arpeggios in an alternative tuning (one of many used throughout). The penultimate
track, "Sunday Morn," puts us back at dawn feeling rather melancholy. But, in the closer, "Sun
Song," the sun is finally "born, and she’s beautiful." In "Peace and Quiet" Brain wrote
"simplicity is all I desire." Bound to Rise fulfills that goal and, in so doing, offers the "moving,
emotional style of music," to which he aspires.
Daryl Shawn, "Still Here," 2022
Pittsburgh-based guitarist Daryl Shawn has released another solo guitar CD, Still Here, a mix of steel string and nylon-string meditative pieces. This is a contrast from some of Shawn's other musical endeavors,
including The Killfish, an electric surf-rock band making the local rounds. On Still Here, Shawn finds a strong melodic center on each of the 12 songs on the recording, shooting off into variations to explore aural
pathways. "The Stars of Kilimanjaro" presents listeners with a propulsive chordal groove hypnotically grounding the song. "Welcome to Pittsburgh" is a surprisingly genteel piece on streel string (given the rough nature
of this steel town I also call home currently). It's a tough place, but the song is welcoming. "Down the Millrace" - also on steel string - is a lively jig with droning bass line playing counterpoint to the treble melody.
"Adagio" is as close as Shawn comes to actual classical guitar on his nylon string - more of an etude, but sweet. I would describe many of the songs on the recording as "charming", "Adagio" among them. "Early Morning
Amsterdam" employs a basic 1-2-3 picking pattern as Shawn goes up and down the fingerboard to create an easy-go-lucky melody. The title cut, "Still Here," follows a similar picking pattern as "Early Morning Amsterdam,"
but more deliberate, creating slow-moving circles of sound. The record ends with "The Long Staircase," an upbeat almost-flamenco toe-tapper where Shawn strums the entire song. Still Here is an enjoyable offering of
solo guitar.
Luke LeBlanc, "Fugue State," 2022
The title of guitarist/singer/songwriter's Luke LeBlanc's 11 song collection, Fugue State, had me scrambling for definitions, with one result being: "Imagine waking up in a new town with no memory of your family or
former life. It may sound like a script for a Hollywood movie or a soap opera, but people in a fugue state experience this level of amnesia related to their identity for weeks or months." That points toward LeBlanc's
journey of discovery on many of these tracks, thoughtfully exploring our place in the universe and our relationships to each other - and how to cope with life's never-ending challenges. He's an affable yet focused guide
who helps remind how we mounted life's horse and rode. The pandemic has revealed how much we need and should value all of our artists. These visionaries let us know we're not alone, that we are loved, and that we can
strive to mend our straying ways. One reason LeBlanc's rootsy folk and pop tunes so easily find their way into our hearts is because they can be almost immediately accessible. Lyrics come off as clear, clean and well-crafted,
ringing of truth. His vocals range from a scratchy rasp on the album's engaging opener, "Come Clean," to a wistful ache on "Honey." Working with producer Erik Koskinen, LeBlanc incorporates a full complement of
backing musicians. Eric Heywood's pedal steel coaxes the languid mood in the country-twinged "Down Low," and propels the upbeat and bouncy "Walking Days." Casey Frensz on sax keeps things interesting, always in
support of the melody, especially on the slowed-tempo of "When I Walk With You," while Ryan Young's violin paints in economical strokes. Koskinen's banjo is particularly effective on the opening track, likewise his
keys, particularly his deft electric piano on "Take Your Mind Off It." But the fine musicianship is all in support of LeBlanc's lyrical stylings, as on the lost relationship revisited in "Anymore": "Sunday left like
Monday came, like rain that died on the window pane… We can't go there anymore." His take on growing up and the realization of life's origami is explored on the heartstring-tugging "Now": "When I was young, I sat on
your knee … now that I'm older I see what you see … When you were stronger, you held up my head, now that you're weaker, I can make my own bed." Often on albums, the "single" is slotted into the third track, and
that seems true here as well, with the nice groove, slinky guitar and general sweetness on "Slide on Over": "I just want to be like the light shining off the moon and slide on over to you." Born and raised in
Minneapolis, LeBlanc taught himself guitar at age 11 and soon began writing his own songs. At age 13, he was the youngest talent to win the Zimmy's (named after Robert Zimmerman, whom you might know as Bob Dylan),
a national singer/songwriter competition held in Hibbing, Minnesota. And he's still going strong 13 years later, with his fourth full-length studio album.
©
Brian Clark
Buy it here
Listen to "Mothership"
Listen to Jacob Seyer at our podcast 
©
Céline Keating
Buy it at Bandcamp
Listen to "Friday's Melody"
Listen to Alan Gogoll at our podcast
©
Mark Sullivan
Buy it at Origin Records
Listen to "Fun with Fruit"
©
James Filkins
Buy it here
Listen to "I Heard it through the Grapevine"
©
David Kleiner
Buy it at Bandcamp
Listen to "Bound to Rise"
©
Kirk Albrecht
Buy it at Bandcamp
Listen to "Down the Millrace"
©
Fred Kraus
Buy it here
Listen to "Now"
