January/February, 2007
JJ Cale & Eric Clapton, "The Road to Escondido," Reprise Records 44418-2, 2006
"The Road to Escondido" is best heard where and when you can lean back and listen. Everything feels so congenial.
Cale and Clapton co-produce. They trade vocals, demonstrating the similarity in their phrasing and restrained
deliveries. Guitar solos aren’t credited, though it’s clear the central characters get their licks. The support
is fine -- like Derek Trucks and Doyle Bramhall II, from Clapton’s recent touring band. Everybody gets plenty of
chances to work out in the blues scale (a place Clapton pretty much owns) in front of comfortable progressions
("Ride the River" and most others). Clapton plays it slowhand on some lazy tunes, like "It’s Easy." Here,
I gather, Cale takes the first solo. Clapton takes over (3:12), exposing the difference in their playing. I’d
be more hesitant to venture who’s who when John Mayer joins in on "Hard to Thrill" (the flip side of "The Thrill
is Gone," and one of my favorite cuts). The uptempo, country "Dead End Road" (is that Albert Lee on the album’s
hottest and arguably the most distinctive solo), brings some welcome liveliness. The writing -- mostly by Cale -- leans on patterns
and toward the light touch. The subject matter and approach are elemental. The themes are staples: sex ("if you
want a woman in bed with you..."), death ("When the War is Over" it won’t bring back "those poor boys in their
graves"), life on the road, and recovery ("Don’t Cry Sister"). Clapton’s unapologetically sentimental "Three
Little Girls," tacks a sequel onto "Tears in Heaven." The whimsical "Anyway the Wind Blows," another highpoint,
swings. The album’s most revelatory tune, "Sportin’ Life Blues" by Brownie McGhee -- with solos on six string and,
I think, hollow body electric -- is sung by two guys who know something about the subject. "The Road to Escondido"
is a complete success, given its modest objective, to allow fans to eavesdrop on two old friends enjoying playing
tunes together.
Vicki Genfan, "Up Close & Personal," Harmonic Touch Records HMTR CD 111-1, 2006
It dazzles, it pulses, it grooves, it weeps, it sings. There's not much that Vicki Genfan's new tour de force
doesn't do aurally. "Up Close & Personal" is a double CD with two lives: disc one is all instrumental, while the
second disc weds her marvelous chops with vocals. Genfan is carving a niche in the acoustic music world which few
can fill, and "Up Close & Personal" is a terrific showcase for her burgeoning talents. The tunes are a mix of solo
guitar, sparse fillers, and full band efforts, all performed in an eclectic cornucopia of open tunings. On the
instrumental side, the particles accelerate on the opening cut "Atomic Reshuffle" as Genfan taps, slaps, bends, and
beats out a danceamagific tune. Other head turners include "New Grass" (which was originally recorded on her debut
CD "Outside the Box"), and the funky "Kali Dreams". While others make noise with tapping stylings, Genfan
understands the power of melody and instead makes music. "Let It Rain" is a brooding bog
mystified by Ian Melrose's low whistle, while "Catch Me" rifles along aided by Genfan's chanting of Sanskrit
Mantras. Disc two contains Genfan originals, and covers of some well known pop tunes (The Beatles' "Norwegian
Wood" and "What's Going On" made famous by the late Marvin Gaye). Her chops are more restrained here, giving
way to her smoky vocals, and she shows solid pop sensibilities (she should find good airplay with many of these
songs). "Norwegian Wood" is slowed and stripped down to just Genfan's tapping guitar and expressive voice.
There's a lovely duet with Gil Goldstein on piano on "When You Are Winter", and Ian Melrose screams on dobro
on "Si". If the music isn't enough, there are bonus videos on each disc showing how some of the songs were
recorded. This is a great CD.
Vicki Genfan's Website Buy it at Amazon.com
Michel Camilo & Tomatito, "Spain Again," Emarcy B00007179-02, 2006
"Spain Again" reunites Spanish flamenco guitarist Tomatito with American jazz pianist Michel Camilo. Camilo is a
classically trained prodigy whose influences range from Art Tatum to Keith Jarrett, while Tomatito reigns as one of
his country's brightest stars, citing Paco De Lucía as one of his key inspirations. The success of this
collaboration does not lie in the differences between their musical heritages, but rather in the common ground
these two masters forge within the parameters of this recording. Although virtuosity is certainly not something
both musicians are lacking, one never senses that the two are competing with one another. Instead the listener
hears a deep and profound camaraderie between the two which amicably encompasses the music on this disc. The
delicate interplay and intuitive sensitivity the artists share recalls the seminal sixties collaborations between
Jim Hall and Bill Evans. Throughout their adventurous melodic excursions and thrilling improvisations, Tomatito
and Camilo never lose focus of the inherent beauty of each composition. The session includes an eclectic assortment
of music featuring jazz standards, moving tributes, and original compositions. Standouts include a series of
three heartfelt homages to Astor Piazzolla, all brilliantly executed and performed to perfection. On the ballad
"Stella by Starlight," Tomatito offers some unique and intricate rhythm playing as Camilo skillfully navigates
his way through the demanding chord changes of the piece. The recording ends with the joyous "Amor de Conuco,"
featuring a passionate vocal performance by Juan Luis Guerra and marking an appropriate conclusion to this very
memorable musical experience. "Spain Again" is a truly magical recording of extraordinary music and should be
required listening for all fans of jazz, classical, and flamenco music.
Martha Masters, "Viaggio in Italia," GSP Recordings 1031CD, 2006
In the past decade Martha Masters has become one of the world's most respected and well-known classical guitarists.
She garnered international attention in 2000 when she won top prize in two highly coveted competitions: the Guitar
Foundation of America (GFA) International Solo Competition and the Andrés Segovia International Guitar Competition.
Since then she ensured the longevity of her fame with a series of outstanding recordings and concert tours. In this
most recent release "Viaggio in Italia" she pays homage to the classical guitar's Italian heritage, and tries to
dispel the myth that it is primarily a Spanish instrument. Although the classical guitar is often called the
'Spanish Guitar' due to Spanish flamenco and popular music influences, most of the early classical guitar composers
were in fact Italian. Master's selected a cross section of composers, starting with Domenico Scarlatti and ending
with Simone Iannarelli, born in 1970. She chose to focus the disc on new music, which is a little surprising
considering the vast wealth of repertoire put forth by Italian composers during the Classical Period, which is
often referred to as the Golden Age of the Guitar. Rather, Master's chose to emphasize the valuable contributions
of today's living composers, who are far too often left out of a recording market saturated with the canonized
composers of the past. Her tone production and phrasing throughout the disc is rich and soulful, thanks in
great part to her relaxed and flawless technique. Although much of the music is contemporary, it is all very
accessible, and this disc will appeal to a wide variety of listeners.
Nickel Creek, "Reasons Why," Sugar Hill Records SUG-CD-4022, 2006
From the rippling mandolin opening to "The Lighthouse's Tale" onward, you feel you are in the presence of real
talent here. Each song feels more beautiful, or moving, or something, than the next. After a couple of listens,
you get the sense that "Reasons Why" is that rare best-of compilation that feels like its own album. That it hangs
together speaks volumes about the sensibilities of these three young players and the first three CDs they authored:
"Nickel Creek," "This Side," and "Why Should the Fire Die?" -- the sources of this compilation. That the program involves
just enough cohesion and diversity to make it all work is a testament to their talent as writers and interpreters.
Taken as a whole, the work attests to youthful exuberance -- an amalgam of imagination and chops that confounds the
purists. And yet, if you like Gillian Welch, you'll love this. Nickel Creek has sparked its own wooden top
revival, influencing emerging bands like the The Senate out of Seattle and Charlottesville's King Wilkie.
"Out of the Woods" features lush harmonies and Sarah Watkin's supple, true-tempered violin that recalls the
work of McGarrigle's sideman Joel Zifkin (this is not fiddle). "Helena" adamantly reinforces the group's
adherence to boundaryless music (their term) with its powerful full-pop climax. The Sean Watkins-penned
instrumental "Speak" is a hooky instrumental that recalls Pat Methany's "As Wichita Falls" on mandolin and guitar.
Throughout, the rhythmic pocket is effortlessly maintained, without the tendency to rush that befalls so many
bluegrass-influenced bands. All and all this release is as smooth as Kentucky bourbon. The dual-disc package
includes a DVD with seven videos that documents more live youthful exuberance. And yet one gets the feeling
this band is saying goodbye to the innocence of its formative years.
Nickel Creek's Website Buy it at Amazon.com
Tim Sparks, "Roots, Rags & Blues," 2006
Tim Sparks can play the fuzz off a peach -- and he
wants to show you how he does it. On Root Rags &
Blues, in MP3 format, Sparks slices and dices up six
tunes in what is essentially a fingerstyle
masterclass. Sparks has the chops -- and a laundry
list of accolades -- to perform in any genre: jazz,
blues, Celtic, classical; this time, he revisits his
rural North Carolina roots, where he cut his teeth.
This disc also includes, when viewed on your computer,
tab, power tab, and, best of all, interactive video
that displays closeups of Sparks' picking hand and
fretting hand simultaneously. The wow factor gets
turned up pretty high, but he keeps everything simple
and easy to use and understand. Tracks include three
fingerstyle workouts: Willie Brown's "Mississippi
Blues," Scott Joplin's "Maple Leaf Rag" and a nice take
of "The Victory Rag." Other cuts include "Tanst Yiddlekh,"
an odd selecton, but Sparks captures its Klezmer
spirit; a deliberate version of Amazing Grace; and an
uptempo "Original Jelly Roll Blues." While this disc is
a primo teaching aid, the actual performances of the
songs lean a bit toward the pedantic. His skill is
impeccable, but it's difficult to dismiss the notion
that he is really, really trying to ensure every note
is perfect for his viewing students. The end result is
that the pure joy of the performance and the song
might be off just a hint of a fraction. Still, it's an
incredible and worthwhile package.
Tim Sparks' Website Buy it at Amazon.com
Peter Janson & Friends, "Beautiful Day," Eastern Woods Music EWCD 41011, 2006
In the 1980s the Windham Hill label assumed stewardship of a meditative acoustic sound which was often simplistic
in composition but soaring in spirit. Although Michael Hedges (who was a label-mate) referred
tongue-in-cheek to Windham Hill's new age music as "California Hot Tub Music," artists such as Liz Story and George Winston
really did prove the converse to the prevailing truism in jazz that dazzling musical complexity need be a
prerequisite to evoke artistic mysticism. Peter Janson has rediscovered Windham Hill's vibe on "Beautiful Day,"
an elemental and atmospheric collection of world-jazz fingerstyle songs. The vibe succeeds not only because of a
consistent deference to introspection, but because of Janson's collaboration with well-chosen sidemen. Steve
Hunt is on keyboards, bringing with him a resumé that includes stints with Freddie Hubbard, Stanley Clarke and
Allan Holdsworth. Bertram Lehmann on percussion has played with Joe Zawinul, John Lockwood on bass with Pat
Metheny. Jamie Bonk (on second guitar) has been nominated as "guitarist of the year" by Smooth Jazz Canada. There is
a drone-like beauty to the aptly-named opening track, "Mantra for Mieka." "Waterfall" opens with sounds of
placid water... to be replaced by torrents of guitar lines played with a sinusoidal urgency. "December Morning
Sun" begins like an ambient overture from Brian Eno and remains on-theme as a somewhat formless tone poem even
as more traditional instruments assume control. "Beautiful Day" is beautifully captivating in a way that a
state of nirvana must willingly claim an ascetic practitioner.
Peter Janson's Website Buy it at Amazon.com
Noah Zacharin, "Waiting on Your Love," Soffwin Music 2007
The heart of a poet, the mind of a lyricist, the skill
of a composer, the fingers of a musician -- rare
attributes singly, but rarer still in one artistic
package. Still, singer/songwriter Noah Zacharin often
puts it all together on "Waiting on Your Love," his
sixth CD. His thoughtful songs of love and ache,
pairing and parting, and yearning and wistfulness may
have been born in the manger of folk, but Zacharin
infuses these 11 tracks with a fully realized
instrumentation. He assembles a talented stable of
musicians, including longtime Tom Waits alum Ralph
Carney (on tenor sax and clarinet) to breathe life and
mood into this collecton. Lines such as this reward
the careful listener: "I wake at the crack and the
creak and the least of sounds hammer my heart shut and
hope the dark will take us down ..." (from the title
track). Zacharin, who grew up in Montreal and now
lives in Toronto, includes tuba, pedal steel, vox, tin
whistle, guitar, and accordion to bring his creations to
life. While repeated listenings reward the dedicated,
Zacharin can be playful as well, with the infectious
and mandolin-inflected "All Go Blind." Repeated
listenings bring higher rewards. Nice stuff nicely
done.
Dorian Michael, "Sycamore Creek", 2006
Musical chops are born of time and woodshedding, and then playing and more playing. Dorian Michael's website
identifies him as a "blue collar guitarist" who has been playing professionally for over 40 years. Dorian
Michael has chops which are all over his latest solo acoustic guitar effort, "Sycamore Creek". He is at ease
in any number of musical genres which he reveals over these twelve tracks. Six originals are joined by six
standards from the worlds of jazz, blues, and traditional music. It takes an understanding of the music to
pull off a solo acoustic version of "Black Orpheus" by Luis Bonfa, but Michael does it well, keeping the
groove with chordal movement while ringing along the melody in single note phrases. Also tasty is the Jimmy
Van Heusen classic "Here's That Rainy Day" played with just enough douleur and panache to capture its various
moods. The title cut cascades as Michael makes use of the entire fretboard. The power of fingerstyle guitar
is brought to life on "Deep River Blues" as Michael carries multiple voices at once on the blues standard.
"Manitoba Moon" is a
dreamy nightscape, while "Uncle Al's Barnyard" is a sassy, braying beast of a blues powered by Michael's
excellent chording and lyrical leads. The concluding track - the Stephen Foster ditty "Hard Times Come
Again No More" - is played on a Baranik JX guitar. Dorian Michael isn't as well known outside the
western U.S. as his playing deserves. Discs like "Sycamore Creek" could well change that.
Dorian Michael's Website Buy it at Amazon.com
©
David Kleiner
| JJ Cale's Website
Listen to "Three Little Girls" (mp3)
©
Kirk Albrecht
Listen to "Atomic Reshuffle" (mp3)
Listen to Vicki Genfan at our podcast 
©
James Scott
| Tomatito's Website
Listen to "Stella by Starlight" (mp3)
©
Timothy Smith
Buy it at Amazon.com
Listen to Scarlatti's "Sonata" (mp3)
©
Steve Klingaman
Listen to "Lighthouse's Tale" (mp3)
©
Fred Kraus
Listen to "Maple Leaf Rag" (mp3)
©
Alan Fark
Listen to Waterfall (mp3)
Listen to Peter Janson at our podcast
©
Fred Kraus
Buy it Amazon.com
Listen to "Convertible Kind" (mp3)
©
Kirk Albrecht
Listen to "Sycamore Creek" (mp3)
 (Click on image below to buy) |
 DVD: Eric Clapton - Unplugged" (w/ Nathan East & Chuck Leavell) |
 Paperback: "The Life and Music of Eric Clapton" |
 DVD: "To Tulsa And Back: On Tour With JJ Cale" |