January/February, 2012
Andy McKee, "Joyland," Razor & Tie 2010
If you have listened to his music, or seen him live in concert (see the interview below), it’s no wonder
Andy McKee’s latest release is titled "Joyland." This guy loves what he’s doing with his guitars, and judging
by YouTube hits, his concerts, and CD sales, people are loving it, too. McKee is an inventive modern guitarist,
drawing from the palette of leading two-handed tappers like Michael Hedges and Don Ross, yet infusing his own
musicality into a distinct voice on both six-string and harp guitars. As with most two-handed tappers worth
their salt, McKee is able to fuse the driving rhythm of tapping with a clear melody and musical development; he
doesn’t just bang on the guitar and strings like some in this genre do. His songs are memorable, something to be
said in this day of proliferating solo acoustic guitar music. The title cut "Joyland" features some orchestral
arranging, adding a layer of depth and sophistication to his guitar parts. His fast fingers knock out a beat on
"Blue Liquid," melding percussion with melody as he taps out a sweet melody. Several tunes are on his amazing
Greenfield harp guitar, like "Away," where the rumbling drone of a bass note anchors the syncopation of his tapping,
both adding their own rhythmic element into a cohesive whole. McKee pays homage to Michael Hedges in a very credible
version of Hedges’ "Layover." A highlight on this disk is the infectious, bopping "Hunter’s Moon," painting images of
primal forages in a lonely wood. The lovely "For Now" concludes another stellar recording by the young Mr. McKee,
imparting joy to his listeners as he plays in "Joyland."
Songwriting partners Jerry Leiber and Mike Stoller had an almost unprecedented run of pop hits, from "Hard Times,"
recorded by Charles Brown in 1952, to Stealers Wheel's 1972 smash, "Stuck in the Middle With You." In between, they
wrote classic songs for the Coasters, Elvis Presley, the Drifters, and many others. This collection presents 15 of
their most popular compositions, played with plenty of variety by Solid Air's roster of stellar acoustic guitarists.
On tracks like Nick Charles' "Stand By Me," and Mark Hanson's "Kansas City," and "Searchin'" by Alex de Grassi, the
intersection of the composers' classic hits and folk-based picking yields a new, yet accessible hybrid. Arlen Roth,
Laurence Juber, and Elliot Easton use chicken picking, power chords, single-string leads and other rock techniques
on "Charlie Brown," "Poison Ivy," and "Love Me," respectively. Also in this vein are "Love Potion No. 9'" by Al
Petteway, "Bossa Nova Baby," by Greg Hawkes and "Jailhouse Rock," by Eltjo Haselhoff. Doug Smith's harmonically rich,
delicate arrangement of "Fools Fall in Love" shows yet another approach for steel-string players. Wayne Johnson fuses
rock, jazz, and blues on the driving "Ruby Baby. "On Broadway" is played by David Cullen in a fingerstyle jazz
setting, illustrating some of the technical and tonal possibilities available on a nylon-string instrument. Mike
Dowling grabs his National resonator guitar to rework "D.W. Washburn," giving us an idea of how Blind Boy Fuller
might have played jazz. "Hound Dog," by Kenny Sultan, takes the listener deep into the country blues. Doug Smith
and Mark Hanson wrap up the set with "Yakety Yak," played as a duet, quoting Boots Randolph and Chet Atkins, then
briefly recasting the tune as a fugue before their final statement of the theme. Although Leiber and Stoller
claimed that they wrote records instead of songs, these instrumental versions succeed in part because the songs
are in the popular music canon and resonate strongly with the listener. This is one of the most consistently
satisfying of Solid Air's tribute anthologies. Guitarists should watch for a forthcoming printed folio of the
arrangements.
Les Frères Méduses, "Live at Theatre Ducourneau," 2011
Les Frères Méduses' "Live at the Théâtre Ducourneau" is a groundbreaking DVD featuring spectacular performances by
Benoît Albert and Randall Avers. Randall Avers is an accomplished American guitarist currently residing and teaching
in Oslo, Norway. He is also working on a solo project featuring the compositions of ECM’s hallmark artist, Ralph
Towner. Benoît Albert is a French guitarist and composer who has seven recordings under his own name. He is
artistic director of the multimedia ensemble "La Compagnie des Arts." Together, Albert and Avers make up the
inventive and visionary Les Frères Méduses, which translates in English as "the Jellyfish Brothers." The music
they create is an intricate and innovative amalgamation of chamber jazz, folk, and contemporary classical. The
disc opens with the playful "Light Dry Table Wine" and "Anniversary Song" featuring brilliantly executed rhythmic
counterpoints. "Lego Land" begins with Albert’s percussive intro followed by interesting counterpointal
improvisations. On "Noise" the guitarists explore free jazz improvisation where their intuitive interplay adds
to the inherent cohesiveness of the piece. They also perform two sonic vignettes by legendary Cuban composer
Leo Brouwer. The resulting "Micropiezas I and II" features the guitarists eloquently swinging with a strong
Parisian feel, echoing the legendary Django Reinhart and Stephan Grapelli duets. The disc ends with Dusan
Bogdonovic’s dramatic "No Feathers for this Frog." Here the two create vivid Balkan landscapes, both alluring
and invigorating, ending with beautifully conceived sonic crescendos. The multi-camera video production is
crisp and clear, with the movement of the cameras focused on showcasing the artists’ extraordinary musicianship.
While the DVD only features seven pieces, the stellar performances and intriguing compositions herein are truly
remarkable. This disc is highly recommended for all listeners of acoustic music.
Trevor Gordon Hall, "Entelechy," CandyRat Records 2011
One of Candyrat Records stable has opened arms to Trevor Gordon Hall, who seems capable of Michael Hedges-like
twist and turns of fret prowess and ingenuity. Time will be the proof, but in the meantime fingerstyle fans are
in for a treat as Hall hones, refines, explores and shares his talent. Entelechy marks Hall's 4th official release,
which includes a 2009 Christmas CD. Compositionally Hall creates rhythms and grooves that intertwine melodies that
are on the order of acoustic soundscapes that often have a therapeutic and hypnotic quality. "Whenever it Rains"
represents, perhaps, the best example of these qualities. It is hauntingly subtle and achingly seductive. Close
your eyes and you will see the rain steak down your windowpane. Curiously, it is not the guitar that brings Hall
all of his notoriety; rather it is the kalimba, a type of African thumb piano that creates vibrations that are
incredibly harmonious with the vibrations made by a steel string guitar. Hall explained that the kalimba has
been the evolution of an idea for him tracing back to his love of music boxes as a child. He bought a basic
kalimba and started messing around with it. In an attempt to increase the volume he eventual mounted the kalimba
on the soundboard of the guitar -- Voilà, a unique and resonate dimension suddenly and magically enhanced his
ability to weave melody. Limitations of the first kalimba attached to his guitar led to the designing of a
two octave chromatic kalimba with the help from a kalimba distributor and a few builders. Hall's kalimba does
not dominate Entelechy, like some of the percussive techniques occasionally push fretwork aside. The word
ergonomic (if that is possible) seems to sum it up nicely. The kalimba and guitar are simply a comfortable
fit. "Kalimbatar", the first track opens the CD with a pulsating groove that allows the kalimba a bit of elbow
room and slides the tempo in a different direction until they eventually walk hand into the sunset. One listen --
you'll get it!
Jeff Black, "Plow Through the Mystic," Lotos Nile 2011
"Plough Through the Mystic," the long awaited release 5th album from singer songwriter Jeff Black, furrows into a
musical landscape that is at once familiar and revelatory, offering personal introspection that cuts to the quick
of the human condition. Turning the soil of the soul, his lyrics often pinpoint subtle epiphanies and wry
perspicacious observations of the complexity in the human existence, both physical and spiritual. Musically, "Plough
Through the Mystic" brings together elements from his previous releases but is closer in scope and tenor to his
third release "B-Sides and Confessions, Vol. I" and less raucous then 2005's "Tin Lily." Not that he doesn't kick
it up -- "Happiness", "Sorry" and the title track certainly get the toes tapping. One listen to "Immigrant Song,"
and you will get a taste of the power Black commands in his live shows. In fact, evidence of that live spark
permeates this CD. The production of "Plough Through the Mystic" has a crystal quality that accents the immediacy
of the music performed here. Yet, there is more grandeur than a living room experience and every bit of that
in-the-moment-ness achieved in part by a voice that offers a honeyed raspy John Prine-honesty-to-the-core. The
acoustic vibe is paramount with Black's acoustic bass playing providing a strong heartbeat through many of these
tracks. Black's skill on banjo is a nuance that shines through as does the fret work of Jerry Douglas and mandolin
savvy of longtime Black conspirator and collaborator Sam Bush. Each instrument seems to find a sonic nook that
allows the whole to breathe. Once again Black surrounds himself with talent that transcends the music machine
that Nashville epitomizes, to create music of a genuine, unaffected nature. Gretchen Peters and Matarca Berg make
cameo appearances in the powerful "Sorry" and Kim Richie lends her voice to "Run".
Black has always seemed to me to be a somewhat enigmatic and paradoxical artist. At once prolific and methodical.
It took six years to release this collection of songs, while releasing many side projects and 'Black Tuesdays'
podcasts in the interim. His songs have been covered by artists of likes of Waylon Jennings and Alison Krauss,
yet he exists below the radar of fame. He falls into that rare category of tunesmiths (think Bill Mallonee) that
can strike a vein and mine it for gold at depths that other artists simply cannot. There are artists out there
that can cut through the dissidence that fills our days reminding us that every once in awhile we just need to
exhale. Witnessing Jeff Black perform "Sunday Best" back in 2004 taught me that.
Vin Downes, "What Falls Away," 2011
Short on length at only a bit more than 32 minutes, Vin Downes’ latest solo CD, "What Falls Away" nonetheless
brings an enjoyable listening experience throughout its 9 tracks. Downes is a good fingerpicker, with a solid
understanding of what makes a good song good. He keeps us anchored to the melody while exploring the aural
dimensions that multiple fingers allow up and down the fretboard. We don’t get any modern techniques like
two-handed tapping, just straight ahead fingerstyle guitar. The title cut "What Falls
Away" is played on nylon string, a gentle dance that suggests what falls away may still have life. Maybe the most
challenging piece on this CD is the contrapuntal "Under Sail and Star," with a deft mix of chord and sliding
melodies. The longest cut is "Longfield and Cattails." Moving through the familiar A-B form, Downes calls and
answers in various ways while returning us to the center of the melody. "Seeing Through" has some shades of
early Chris Proctor playing and writing, a fine lyrical piece. The final cut "Running Fences" has some qualities
of a rag, but breaks out of that style as the treble line undulates from phrase to phrase. While Downes won’t
blow anyone away with mind-altering playing like a Tommy Emmanuel or Laurence Juber, "What Falls Away" is simply a
CD of fine acoustic guitar music.
Doug Young, "Closing Time," 2011
From the first notes of Doug Young's "Closing Time," listeners will feel embraced by the mellow warmth and good
fellowship to which he pays tribute ("The Gathering," for the Swannanoa Gathering, an annual musical event that
takes place in the Appalachian Mountains). Young's exceptional clarity and fingerstyle finesse call to mind
Laurence Juber, Leo Kottke, and John Renbourn and other greats, but the sensuousness of his tone is second to
none. This rich and varied collection of guitar solos and duets (on which Young plays both guitar parts) includes
traditionals, like the lovely "Wildwood Flower, with gorgeous artificial harmonics; compositions with Celtic
influences, like the haunting "The Month of January;" and uptempo show-stoppers, including "Curly Q," with it
many twists and turns. "Elephant Dance," a bluesy-jazzy "dance" between baritone and resonator guitars, began with
"a leftover bass line" for an article Young wrote for Acoustic Guitar magazine, where he is an editor. Fellow AG
editor Teja Gerken came up with the second guitar part on "The Seagull," and Young involves other guest musicians,
including John Begley on mandolin and Laurel Thomsen on violin. Given Young's exceptional skill and assurance, it's
shocking to learn that this is only his second release. But compositions this good take time. The last song on the
CD, "Closing Time," is a complex, moody evocation of late nights at a club or bar, with patrons who can't tear
themselves away. Listeners won't want to either: Though exquisitely satisfying, this CD nevertheless leaves you
hungering for more.
Vance Gilbert, "Old White Men," 2011
Damn you, Vance Gilbert! Isn't it enough that you humble me as a performing songwriter whenever I see you? Then you
put those talents on a record I'm professionally compelled to listen to over and over? You have complete command of
the guitar ("You Should Be Here"). You move fluidly between genres: contemporary folk ("Go," and the inscrutable
"Dragonfly Wings" that sent me to Wikipedia to learn about the title insect); swing ("New Year's Day…" where you
demonstrate how to inhabit a character); soul ("King of the Rails," think "If You Don't Know Me At All"); and jazz
almost everywhere. You sing like an angel (check out the a cappella "The Brakeman's Son," especially the falsetto)
molding your voice to each tune. You even do the most creditable male Billie Holiday this side of David Sedaris
("My Bad") making it one of the most provocative numbers on a CD filled with provocation. Like the title
"Old White Men." Then you surprise us with a sensitive portrait of an awkward child and his relationship with
the persnickety handymen I recognize from my own youth. Later, that child becomes an angry black activist who
eventually becomes an old white man himself (listen, and you'll understand). That child, young man, and middle-aged
guy remind me of you. And I want to be able to write that the album is confessional and thematically unified because
that's my M.O. as a reviewer. Is that your "butt crack" in the driving "Helpless Man?" But you won't let me put it
all together even though you drop enough hints: like the opener's portrait of a shy boy's crush ("Boy on a Train");
then the train imagery on three other tracks; then the snippet from the opener after the CD ending revelatory cover
of "Sara Smile." Gilbert, is there anything you don't do well? Well, there was that interpretive dance on stage at
the Common Grounds Coffeehouse...
Tom Feldmann, "DVD: The Gospel Guitar of Mississippi John Hurt," Stefan Grossman's Guitar Workshop 2011
There’s something transcendent about Mississippi John Hurt’s music. The simplicity, power, and gentle precision of
his style, whether playing gospel classics, such as "Do Lord Remember Me" or murder ballads like "Stack O’Lee," are
unparalleled in the blues archives. Though Hurt may be better known for his blues than his gospel, it’s really quite
difficult to separate the two; his blues are infused with gospel and his gospel infected with blues. Hurt had his own
very personal style and it permeated all the music he played.
In the opening moments of this instructional DVD, Tom Feldmann describes his own experience upon first listening to
John Hurt. Having previously immersed himself in the grittier styles of Lightning Hopkins, John Lee Hooker, and
Muddy Waters, the music of John Hurt offered Feldmann a new vista on the blues. Mississippi John Hurt’s music,
Feldmann notes, is perfect for the novice fingerstyle guitarist. But the truth is these humble guitar pieces would
bring joy to pickers on any level of expertise. It’s just great music and great fun to play. And Feldmann, a gentle
guide whose personality and approach reflect his subject, has that style down.
He takes you step by step through the gospel classics "Do Lord Remember Me," "Since I Laid My Burden Down," "Nearer
My God to Thee," the powerful "Mary Don’t You Weep," and many others, all in the familiar keys of G, C, E, and D.
There are nine songs altogether. Two added and absolutely essential features to the DVD are a PDF of all the tabs
and the original recordings of the songs. "The ‘Gospel Guitar’ of Mississippi John Hurt" is another superior product
from Stefan Grossman’s Guitar Workshop.
Cecilio Perera, VGO Recordings 2011
Cecilio Perera has established himself as one of Mexico's leading concert guitarists. Following his success at
several competitions nearly a decade ago, he has been recording and performing regularly across the globe. His
most recent CD release is a unique blend of British and South American music. On the British side, Perera presents
two major works: the "Five Bagatelles" by William Walton, and "Nocturnal" by Benjamin Britten. Both are extremely
demanding compositions, both technically and interpretationally. These pieces highlight Perera's maturity, as he
narrates them with a steady and reflective tone. He then uses this solid benchmark as a platform from which he
leaps musically as the works become ever more emotionally obtuse. The South American pieces Perera selected are
written by two equally influential composers, Leo Brouwer and Alberto Ginastera. The Brouwer "Nuevos Estudios
Sencillos" are a series of very short studies, each dedicated to a famous composer. Not only do these studies
work well as a whole, contrasting and complimenting each other, they also pair nicely with the large and complex
works that make up the rest of the disc. They offer Perera an opportunity to showcase his broad musical palate,
and further establish his technical proficiency. Finally, the Ginastera Sonata acts to bring all of the elements
of the disc together in one dramatic summary. The Sonata blends the South American passion of Brouwer with the
learned compositional style of Walton and Britten. On this disc Perera has compiled a powerful and emotionally
complex set of works that will appeal to any classical music aficionado.
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "Hunter's Moon"
Various Artists, "Everybody's Pickin' on Leiber and Stoller," Solid Air Records 2011
©
Patrick Ragains
Buy it at Acoustic Music Resource
Listen to "Love Potion #9" (Al Petteway)
©
James Scott
| Randall Avers' Website
Listen to "Light Dry Table Wine"
©
James Filkins
Buy it at Amazon.com
Listen to "Kalimbatar"
©
James Filkins
Buy it at Amazon.com
Listen to "Walking Home"
Listen to Jeff Black at our podcast 
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "Seeing Through"
Listen to Vin Downes at our podcast
©
Céline Keating
Buy it at Amazon.com
Listen to "Wildwood Flower"
©
David Kleiner
Buy it here
Listen to "Dragonfly Wings"
©
Chip O'Brien
Buy it at Stefan Grossman's Guitar Workshop
Listen to "Do Lord Remember Me"
©
Timothy Smith
Buy it at Amazon.com
Listen to "William Walton - Allegro Assai (from Five Bagatelles)"
