January/February, 2008
Phil Roy, "The Great Longing," Decca Records 2007
One dissolving synth chord, a tap of the cymbals, and the bass line kickstarts the groove... "The Willow," a song
about "understanding the flow" eventually flows into a handclapping vamp featuring a call and response involving
Roy, a chorus of Lucy Woodwards, and Julian Coryell's guitar. Propelled by Roy's smooth, soulful vocal, its gospel
feel can get you up on your feet. This is not your typical singer/songwriter CD. It's not even your typical Phil
Roy CD. Roy's third release finds him with one eye focused on the meaning of life and the other on the rhythm
section. In "I Love Everyone," listen to the various colors moving in and out. This tune also has the record's
highest percentage of Roy's trademark grouchiness. The agoraphobic narrator decides he's ready to love everyone,
finally leaving the house when "even my shadow got bored." Out in the world, he finds loving everyone a challenge.
"Busy Thinkin' About Today" really takes off when Amos Lee
contributes some high harmonies. "Exceptionally Ordinary" captures Roy and Madeleine Peyroux having too much fun
with a bluesy swing tune. "Fly Away" uses a deceptively simple arrangement. Roy's silky voice rides Joel Bryant's
swirling keyboards (a Minimoog patch with arpeggiator lines and a Fender Rhodes) while Ricardo Silveira's nylon
string guitar adeptly adds fills. Philly fave Mutlu's vocals keep "Without Conscience" moving. "You Were There for
Me," the closest thing to a love song on the album, is also its only true duet.
Antje Duvekot never sounded better. The record's vamps reflect
its groove and musical joy. "Day to Day Thing" co-written with Bob Thiele, Jr. -- a favorite Roy writing
partner -- dances out with all kinds of sounds over a little synth groove: George Rabbi's trumpet, Jimmy
Lint's Fender Rhodes, and a Japanese rap. You won't find another singer/songwriter album with production
this adventuresome, songs this sophisticated, or rhythm this infectious.
Van Morrison, "Still on Top - The Greatest Hits," Polydor, 2007
In terms of mass pop culture, Van Morrison remains one of the unsung greats. Part of what makes him so appealing
is that so much of his nature remains unrevealed at this late date, still to be discovered by the intrepid listener
who will find gems in strange corners of his oeuvre. Though his music has served admirably as a "soundtrack of our
lives," it is all the more rewarding on close listening. And the arrangements, so loose, so one-take, throughout
his early career. Just listening to his breath marks on "Crazy Love," you know this guy is his own dude.
This collection of his work demonstrates his range over 40 years. That, in itself, is a remarkable milestone.
The CD offers a generous selection of tracks, 21 in all. The first ten, covering the years from 1964 to 1978,
probably comprise the greater number of "hits," featuring songs like "Brown-Eyed Girl,"Domino," and "Wild Night."
Then there’s "Wavelength," which ends his rave-up phase on such a high note of 70’s enthusiasm. The middle period
of the 80’s revealed more of his passionate romanticism, where love and higher love blend with such unflinching
honesty, as in "Dweller on the Threshold" and "Have I Told You Lately That I Love You." If there is any complaint
here, it is that the final tracks wander a bit. But any serious fan might wish to substitute a track or two in
favor of one they feel is more compelling. The CD serves to remind us what a phenomenal output this man has gifted
us with over the course of his career. And then there’s "Gloria," the iconic song that spawned a thousand garage
bands. Those famous three chords defined the musical vocabulary of a generation. One of my favorite little
details was how the bridge merely reversed the chord order. Brilliant! To become great, by any definition, it
is necessary to bring the conviction of your experience to the work, and nobody does that quite like Mr. Morrison.
Van Morrison's Website Buy it at Amazon.com
Laurence Juber, "PCH," Solid Air Records, 2007
Since his emergence as a solo artist in the 1990s, Laurence Juber has created a body of work that's stylistically
varied, technically innovative and consistently listenable. PCH is all of these things, but with a couple of twists
that distinguish it from his other recordings. While Juber still features his acoustic playing most prominently, he
plays electric guitar in a visceral blues-rock style on several tracks, using either an Eastman archtop or a 1957
Stratocaster. Secondly, he's created a small band, performing several pieces with Lee Sklar on bass, Russ Kunkel
on drums and Jim Cox on keyboards. Juber leads this combo with both his acoustic guitar, as on the title track,
"Gardenia," and "Let's Stay Together," or with electric, on the traditional "Wayfaring Stranger" and the improvised
"Blue Guitar Blues." On the minor-keyed "Castle Walls," he plays both acoustic and electric throughout for a great
performance. Juber pulls out all the stops on several acoustic solos, including "Bullet Train Boogie" and "All of
Me." His solo version of "Layla" recalls Derek & the Dominos' original arrangement and is sure to please casual
listeners and challenge guitarists. The feel throughout PCH is more relaxed than much of Juber's catalog. While
it's not thematically cohesive in the manner of "LJ Meets the Beatles," "One Wing," or "I've Got the World on Six
Strings," here we get a better look at Juber the guitarist by hearing him perform in different contexts and on
a number of guitars. As an extra offering, three of Juber's compositions appear twice on the disc, first in the
group recordings, then again as solo tracks at the end of the CD. These bonus solos are fully realized
performances, and although they don't necessarily include anything new for listeners, guitarists will appreciate
them. Overall, LJ can expect to please his fans and attract new listeners with this fine offering.
Antoine Dufour and Andy McKee, CandyRat Records, 2007
Seeing is believing -- an observation that perhaps
launched this video project to present live
performances of two exceptional solo fingerstyle
guitarists (and friends), Andy McKee and Antoine
Dufour. Each performs eight original songs; each plays
his tracks, one by one, as the screen fades to black
as each song ends. It's a studio video recording, as
contrasted to a concert video recording, which might
present an entirely different vibe. As such, this DVD
shows two young men whose percussive techniques,
hand-switching flair and athletic dexterity give the
aural impression of (at least) a guitarist and his
accompanist. Clearly, we can see from the video that
that's not the case! Though their styles are somewhat
similar, McKee's unconventionality mesmerizes from his
very first track, "Drifting." His hands fly all over
the place, from the bottom of the guitar to the top of
the neck. One wonders how he can move his arm so far
and yet land it with such precision, all the while
keeping tone, melody and tempo dead on. On the wistful
"Rylynn," McKee uses a capo on the sixth fret on four
strings -- but he plays above the capo on the two free
strings, his left hand again traveling long distances.
McKee's guitar neck actually extends into the
soundhole, with part of it cut away on an angle.
Another fascinating aspect of McKee is that he manages
all of his musical gymnastics with short, squatty
fingers, Despite his speed and flash, he displays a
nuance that conveys a wide range of emotion. He
breathes life into his creations, aided by a variety
of subtle visual expressions. Dufour, a Canadian,
whose set opens the disc, displays a somewhat reserved
performance range. Technically, he's just as
accomplished, but, in contrast to McKee, focuses less
on interpretation and emotion. Both guitarists draw
from classical, jazz, folk and rock genres, although
McKee, at least from this viewing, works in a wider
number of influences. If fingerstyle with a heavy
percussive dose is your forté, chances are you'll
enjoy viewing these two fret magicians.
Andy McKee's Website | Antoine Dufour's Website Buy it at CandyRat
Phil Keaggy, "The Song Within," Autumn Records, 2007
It's hard to know what to write about Phil Keaggy's guitar playing that hasn't been said before in some way.
Brilliant? Check. Inspiring? Check. Amazing? Ditto. Inventive? Roger that. Keaggy's latest instrumental
recording, "The Song Within," reveals parts of all those superlatives, and more. This CD is a platform for
McPherson guitars (in this case, an MG-4.5 with African mahogany back and sides and an Adirondack Red Spruce
top). It's not a solo effort (like "Acoustic Sketches"), but the accompaniment is minimal and tasteful,
allowing this six-string wizard to showcase what he does best: dance all over the fretboard in weaving
excursions of musical wonder. Keaggy has always maintained a cheeky side to his playing (especially in concert),
and it comes through on several tracks: the opening cut "Water Day" is a sly knockoff of his early "What A Day,"
with passages reminiscent of that work recorded soon after his Christian conversion; and "Addison's Talk," taking
ideas from his slower "Addison's Walk" on the "Beyond Nature" CD. "Wow's the Weather" fuses several
Keaggy staples: rich chordal movement over the melody, lightning-fast arpeggios, and a few soaring electric
riffs. The title cut, "The Song Within," is a fine example of the direction of his songwriting over the
past several years -- a richer canvas of melody in an almost enveloping serenity. One of Keaggy's favorite
musical partners, the fabulous Muriel Anderson, accompanies him on "New Year's Eve," and the interplay is
pure magic. "Noah's Shuffle" takes a catchy hook and runs over it with that Keaggy style -- a few bars and
you just know this is a Phil Keaggy tune. The 16 cuts on "The Song Within" don't break any new ground for
Phil Keaggy or his legion of fans, but each one reinforces his place among the very best guitarists on the
scene today, one who knows how to make soulful music.
Fiske & Herrera, "Just Breathe," 2007
"Bad Dream," opens "Just Breathe." This tale of a separation showcases everything that makes this record so darn
pretty. Amy Herrera and Jared Fiske's gentle voices blend perfectly. Acoustic guitars sparkle. Starting with the
first chorus, two six-strings support the vocals with a steady duet. Three minutes in, a third guitar trios up,
playing a lovely solo that mirrors the fingerpicking behind it. Such precision arrangements are standard for this
record. "Along for the View" opens with a reference to "Norwegian Wood." The guitar solo introducing "Rough Luck"
evokes early Joni Mitchell and only gets sweeter joined by a fretless bass. "The Explanation" uses cello effectively
and features a counterpoint vocal duet. Co-producer Seth Connelly's piano knows where to put its quiet chords and
arpeggios. The lyrics in "Just Breathe" are generally of the confessional kind. They reflect the concerns of young
adults finding their way in the world: parent/child issues ("The Father"), self-doubt ("The
Explanation"), freedom and limits ("Choice"). The narrator in "Choice" confesses, "I am young / I carry my dreams out in the open," but he has "seen
friends go before their time / pills and guns and rope they left behind." In the end, he declares, "I will give
what I have to give / 'cause I have a choice to make / I choose to live." Such drama can at times drag the lyrics over
the top ("These feelings are bleeding me dry / I feel the world still suckling at my breast / this anger feels like a
lie"). But always there's that pretty, pretty music washing over you.
Fiske and Herrera's Website Buy it at Bandcamp
Theo Bleckmann & Ben Monder, "At Night," 2007
Ben Monder and Theo Bleckmann's second collaboration, "At Night," is an astonishing compilation of originally
conceived and orchestrated musical landscapes. Monder is one of New York City's most inventive guitarists,
regularly playing at the 55 Bar in Manhattan's West Village and Barbes in Brooklyn's Park Slope. He has recorded
four albums as a leader and has appeared on over 90 albums as a sideman with such artists as Paul Motion, Mark
Johnson, and Donny McCaslin. Theo Bleckmann is truly a multi-disciplinary vocalist whose diverse projects include
Cabaret, Performance Art, and Installations, as well as Concerts. He has also recorded and or performed with Bobby
McFerrin, John Zorn and Laurie Anderson. While this album is not primarily an acoustic guitar recording, several
pieces feature Monder's unique and expressive approach to the instrument. On the ominous opener "Late, by Myself,"
the guitarist creates some wonderfully flowing chordal tones to Bleckmann's ethereal wordless vocals. "Animal Planet"
is a beautiful Brazilian inspired piece with subtle, melodic vocalizations over Monder's delicate and intricate
accompaniment. An album solely devoted to the acoustic instrument would be a welcome appendage to the guitarist's
critically acclaimed solo catalogue. The addition of Satoshi Takeishi on percussion on five of the tracks adds an
even more dynamic dimension to the mix. As a case in point, on "Carbon" Monder unleashes some frenetic, distorted
guitar lines reminiscent of Terje Rypdal and Steve Tibbetts, while Bleckmann counters with processed vocals amid
Takeishi's powerful percussive work. There's even a psychedelic deconstruction of the Beatles "Norwegian Wood"
and a poignant reading of Joni Mitchell's "Sunny Sunday." This groundbreaking album is challenging in many ways,
but is at the same time uniquely refreshing and satisfying. While tradition is definitely abandoned, it is also
redefined and recreated, to produce a recording that is truly unique and compulsory listening for adventurous
fans of contemporary music.
Ben Monder's Website Buy it at Amazon.com
Michael Kelsey, "The Way It Rolls," H-Note Records, 2007
Michael Kelsey has said "There is a five piece band in my head. They all have different tastes in music and they
are all trying to escape at the same time through my hands, feet and mouth. I hang onto an acoustic guitar and
see what happens." On "The Way It Rolls" that band in his head comes bursting out of one soundhole of his guitar,
the face of which is burnished raw by thwacking, spanking and slapping... to create a uniquely percussive style which
is rarely heard within singer-songwriter circles. Comparisons to Michael Hedges are inevitable but unlike Hedges,
for whom vocals always seemed an afterthought, Kelsey's vocals are soulful with intensity on equal par with his
guitarwork. Think Steve Marriott on vox and Don Ross on box. The "five piece band" metaphor is especially true
on "The Way It Rolls." This is a full band sound, yet a perusal of the CD insert for the expected backup musicians
on bass, electric guitar and harmony vocals yields only one other name besides Kelsey -- Matt Call on drum kit.
Past Kelsey projects have showcased Jekyll & Hyde musical personalities: the restrained fingerstylist versus the
maniacally bluesy rocker. The evil twin definitely wins out on this CD, so don't look for much Windham Hill
prettiness. The title track's message could be both the "Que Sera Sera" of a new generation and a synopsis of
his musical M.O. -- "Some choices you make / some you leave to fate / sometimes you just gotta get out of the
way / and let life roll around like thunder / keep yourself in a state of wonder / I don't think it's about
trying to figure it all out / I think it's more about the way it rolls, not where it goes." Michael Kelsey
seems to be genuinely enjoying the way things are rolling.
Michael Kelsey's Website Buy it at Amazon.com
Peter Mulvey, "Notes from Elsewhere," Signature Sounds, 2007
Cheryl Wheeler once said that open tunings were a gift from the songwriting gods. The gods have blessed Peter Mulvey
and it's not just 'cause he makes good use of the tuning keys. His playing ranges from Ani Difranco-like killer
grooves to delicate arpeggios a la Alex de Grassi. His voice does that bluesy folky thing like Vance Gilbert; his
lyrics a string of metaphors and images, like in some of Ellis Paul's songs. In case I haven't confused you enough,
throw in Michael Hedges for good measure, 'cause there's the same great kind of guitar work. Yeah, that's a lot of
performers to compare him to but he's not so close to any of them to make you stab your finger in the air and accuse
him of anything but being Peter Mulvey and he does that very well thankyouverymuch. This collection of songs includes
favorites from fifteen years of recording only instead of a band, you just get Peter and his guitar. Just. In that
one guitar is a whole rhythm section and a hot lead player, all solidly grounded with a foundation of chords. I
swear the guy has four hands but I've seen him in concert and I know he's a mere mortal. You may disagree with me
when you hear this release.
The disc begins with "Shirt," featuring some lively fingerpicking. In "The Dreams" he shows his philosophical side
while "Better Way to Go" is bluesy and a bit sinister. He's a grounded funk/blues player in "Rapture," a piece that
starts with harmonics and a few well-placed runs until the groove sneaks in. The lowest string is tuned to a
mysterious tone that seems to emanate from somewhere below the upper crust of the earth. I did some research
and found the tunings for each song listed on his website. That mysterious note? It's a G. Folks, that's almost
a freakin' octave below standard tuning. Not only does it make for one hellacious bottom end but it has this
cool buzz that offers the percussion in this crazy band. According to the book of Mulvey "The Trouble With Poets"
is that they talk too much. Depends on how they play the guitar. It's in "Black Rabbit" that I hear de Grassi.
It's a gorgeous fingerpicked instrumental in DADGAD that has movements, like a symphony. There's an Irish lilt
because that tuning is used often in modern Irish music. "Knuckleball Suite" is about the collection of folks
found in the cozy Café Carpe in Ft. Atkinson, Wisconsin. He comments in the liner notes that "the names have
been changed to protect the innocent. Billy C's name has not been changed owing to a lack of innocence on his
part." The disc ends with "Little Foot," a sweet instrumental with a lot of space.
Thomas Leeb, "Desert Pirate," 2007
I would not want to be Thomas Leeb's guitar, but I like having ears to hear what he does with it. On his latest
amalgam of pops, slaps, bends, thwacks, plucks, and strums, Leeb once again pushes our aural boundaries with
hard-driving melodies using -- literally -- the entire guitar. "Desert Pirate" is a firestorm of sound, from the
opening "Grooveyard" (where surely even the most decayed are moving), to the gentler tribute piece "Ladzepko"
(for his musical inspiration). Leeb's ability to create accessible melody reminds me of Billy McLaughlin's
best work: you have a hard time imagining how he can be doing so much yet still create true songs. The title
track, "Desert Pirate," begins sounding like a mouse is trying to get into his soundhole; it then builds into
a percussive crescendo before the traditional sound of a guitar appears, sounding not too traditional, but
reminding us of the varied palette of sounds six steel strings can deliver. "Jebuda" mixes some well-placed
harmonics with slightly more "traditional" picking in a funky groove. Harmonics feature again on the lovely
"Nai Nai," with the three notes of the melody ringing bell-like over open strings. Leeb delivers an infectious
cover of Bob Marley's "No Woman No Cry," mixing slaps with a harmonically-rich melody over a driving bass line.
He shows some jazz chops on "Oachkatzlschwoaf" (no, that's not a typo, it's a German word) which feels like a
ride on the Autobahn with the top down in June. Leeb even covers the Swedish pop songstress Bjork's "Isobel"
(in a far more endearing form to this listener's ears), giving his own percussive, driving sound, making the
most of the lower registers of the guitar. This is a solid record. For anyone wanting new acoustic sounds
on the guitar, Thomas Leeb delivers.
Thomas Leeb's Website Buy it Amazon.com
Randy Browning, "Radical Rags," 2007
You have to like the concept: a mix of six originals
and four covers linked by a common thread of positive
social change. As a composer, Randy Browning, who
makes his home in Maine, shows himself to be literate,
thoughtful and inclusive. His story songs reveal
insights while being engaging and entertaining.
Browning's pleasant voice and his easy way with his
acoustic guitar, slide guitar and old-time banjo makes
for a comfortable pairing. For this collection, his
first solo work, he blends folk with blues, ragtime
and contemporary. His opening track, the upbeat
"Radical Rags," sets the tone for Browning's slightly
askew universe view. Browning includes a couple of
verses of Randy Newman's acid-tongued satire
"Political Science," a challenge for someone as
sweet-voiced as he. Browning fares much better with
Leadbelly's still relevant "Bourgeois Blues." A
journey through these 10 tracks will raise your social
consciousness while it raises a smile.
Randy Browning's Website Buy it here
Dormlife, "Roses are Blue", Duckphone Records, 2007
We are what we pretend to be. So it's somewhat fitting that Dormlife, three guys and a girl from Chicago, have never
actually resided in dormitory. Yet the songs which comprise their buoyant sophomore release certainly reflect topics
most prevalent in the lives of many post-adolescent collegians -- that being; romance, self-identity, and uncertainty.
Dubbed "acoustic pop" in their press bio, Dormlife is much more. Bassist Philip's (they only reveal their first names)
fretless lines afford the tracks a jazzy veneer akin to Tony Franklin / Fernando Saunders / Jaco Pastorius' work in
the pop realm. Sara's flowery piano accompaniment runs the gamut from classical to jazz to rock (Tori Amos, Mike
Garson). Drummer Michael holds it all together, laying down a fierce backbeat (see RHCP's Chad Smith) or coloring
subtle harmonies (ala Paul Motian) whenever necessary. The success of this band, however, rests on the shoulders
of singer/acoustic guitarist Samuel. Blessed with an expansive vocal range to further his supple melodic phrases,
Samuel is certainly in a class with some of pop's best theatrical crooners -- Rufus Wainwright, Ed Harcourt, and
Duncan Sheik to name a few. His guitar playing is fairly straight forward, strumming on the downbeat in root
position, which is the perfect approach as his mates flex their chops on each track. "The Shortest Conversation
I Ever Had Was With A Bullet" emerges as a virtual Dormlife greatest hits collection: punky staccato verses, a
lush chorus worthy of Sinatra or Bennett, and a ska bridge straight out of London circa 1979. If you only read
the lyrics "Leaving Through The Windshield" you'd likely guess it was written by Morrissey on caffeine. However
Samuel's winsome falsetto, Sara's cinematic arpeggios, Michael's rapid fire snare fills and half-time groove,
plus Philip's growling lower register pedal tones coalesce into an alluring mini-rock opera. Philip's plucking
provides a sharp edge to "Shoes Your Weapon." Samuel steps out a bit in the intro to "Making Time To Waste,"
finger-picking until Sara renders a catchy repetitive motif to prepare the listener for the rollicking rhythm
section. Despite its relative brevity, there's a lot to digest on "Roses Are Blue." Nobody ever said Dormlife would
be easy...
Dormlife's Website Buy it at Interpunk
Axel Schultheiss, "The Uplift", Acoustic Music Records, 2007
Instrumentalist Axel Schultheiss performs 15 of his own compositions and two reimagined German folk songs on solo
steel-string acoustic guitar on this, his third CD. Schultheiss' often aggressive right-hand attack and use of
dissonance sometimes recalls Peter Finger (who produced the disc). Schultheiss often uses altered tunings, but,
like Finger, he avoids using them as a crutch in developing his material. The opening track, "On the Move," with
its driving rhythms and long melodic lines, characterizes Schultheiss' approach with medium-to-fast tempos.
"En Route" and "Blue Afternoon" feature a jazz-blues feel, with key changes and spirited improvisation. Several
pieces, including two short "Sketches," "Pollock," and "The Sham," allow us to hear the guitarist explore more
abstract ideas and radically different tonal colors. "November Day" and "Solace" are the first two of three
slower, reflective pieces showcasing Schultheiss' mastery of melody and harmonic movement. "Solace," the more
varied of the two numbers, begins with single-string lines that convey loneliness; he later introduces bass and
chords to move the piece toward its conclusion, a resolution of sorrow. In contrast, "The Uplift" delivers exactly
what its title promises. Schultheiss has a great time with the uptempo "Scofun(k)," which must be a crowd-pleaser
in live performance. The disc ends with the pensive "Nightfall," which evokes more regret than peace at day's end.
Axel Schultheiss is a masterful young guitarist and composer who can call to mind moods ranging from fear and
sadness to uninhibited joy. His use of dissonance and subtle tonal shifts will reward careful listeners. I
enthusiastically recommend this CD and look forward to his next release, titled "On Wings."
Axel Schultheiss' Website Buy it at Amazon.com
©
David Kleiner
Buy it at Amazon.com
Listen to "Day to Day Thing" (mp3)
©
Steve Klingaman
Listen to "Wild Night" (mp3)
©
Patrick Ragains
Buy it at Acoustic Music Resource
Listen to "Temple Bar" (mp3)
©
Fred Kraus
Listen to "Rylynn" (mp3)
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "The Blue Trail" (mp3)
©
David Kleiner
Listen to "Bad Dream" (mp3)
Listen to Fiske & Hererra at our podcast 
©
James Scott
Listen to "Late, By Myself" (mp3)
©
Alan Fark
Listen to "Hey Elaine" (mp3)
©
Jamie Anderson
Buy it at Amazon.com
Listen to "Shirt" (mp3)
©
Kirk Albrecht
Listen to "Grooveyard" (mp3)
Listen to Thomas Leeb at our podcast
©
Fred Kraus
Listen to "Radical Rags" (mp3)
Listen to Randy Browning at our podcast
©
Tom Semioli
Listen to "Medicine" (mp3)
©
Patrick Ragains
Listen to "En Route" (mp3)
 (Click on image below to buy) |
 DVD: Phil Keaggy Live in Philly |
 DVD: Laurence Juber - "The Guitarist" |
 Phil Keaggy Acoustic Sketches Songbook |