March/April, 2010
Tommy Emmanuel & Frank Vignola, "Just Between Frets," Solid Air Records, 2009
This latest addition to Solid Air’s Groovemasters series pairs two more acoustic
masters for consistently listenable and even surprising results. Tommy Emmanuel
is among the higher echelon of today’s fingerstyle players, if not positioned
squarely atop the heap. Frank Vignola has been a top jazz and pop session player
since the 1990, having performed or recorded with Les Paul, Ringo Starr, Joey
DeFrancesco, David Grisman, Mark O'Connor, and many others. Emmanuel mainly
performs solo, while Vignola almost always plays in groups (he’s released one
solo guitar CD, the excellent "Blues for a Gypsy"). This CD places them in a trio
context, rounded out by Gary Mazzaroppi, longtime bassist for pianist Marian
McPartland and veteran of Vignola’s tenure with Les Paul. Most of the selections
are swing-era standards, with a few more recent jazz and popular numbers and two
originals thrown in. In a depature for him, Emmanuel employs a flatpick to trade
rhythm and lead with Vignola, who is in familiar territory here. Highlights
include "How High the Moon," "Swing 39/Swing 42," "Paper Moon," and the country
standard, "Sweet Dreams." Each tune features extended solo spots for Emmanuel
and Vignola, although the sparks really fly when they trade fours and improvise
concurrently, as on "How High the Moon" and "Paper Moon." Though I’ve heard
Mazzaroppi stretch out more when playing with Marian McPartland, he takes two
hot bass solos during the proceedings and otherwise holds down the bottom end
with his usual skill. Other favorites include "Django’s Castle" (which Vignola
recorded as a solo on Blues for a Gypsy) and an understated "Nature Boy."
Emmanuel and Vignola explore key changes and dynamic shifts on the blues, "Just
us 4 All," which serves as an encore. Like all Groovemasters CDs, this one is
fun and full of great music.
Lyle Lovett, "Natural Forces," Lost Highway Records, 2009
Talk about your natural forces. Look at the sidemen in this record's big band: Viktor Krauss on bass; Russ Kunkel on
drums; Stuart Duncan on fiddle; Sam Bush on mandolin. Of course they sound great. And that's not to mention Mr.
Lovett himself. He sounds great too, working to sell every song. Throughout, he meets expectations then defies
them. The CD opens with a driving Lovett original that finds every man a cowboy and every cowboy with his own
particular horse. With nods to the National Reining Horse Association, truck drivers, Cherokees, and an RPG
shooter, it's as all over the place as the song selection here. Two Lovett double entendre novelty numbers
follow: a Texas swinger and a country barnburner (co-written with April Kimble). Of course they sound great,
but they raise questions about song order and song selection. Then comes "Empty Blue Shoes," a gorgeous Lovett
original with the poetic directness of his best work. What follows is a mini-album of restrained covers. These
tunes from fine writers like Eric Taylor (the ecological "Whooping Crane") suit Lovett's voice well. Duncan's
lovely fiddle colors Don Sanders' finely observed waltz, "Bayou Song." One of the strongest numbers is David
Ball's "Don't You Think I Feel It Too." Townes Van Zandt's "Loretta" manages to be both sweet and ironic.
Then comes the closer. Co-written with Robert Earl Keen, it's a Segerish paean to life on the road. It lets
the players rock out but, beyond that, I'm not sure what it's doing here. The reprise of "Pantry" raises more
questions, but at least it finally puts Bush's mandolin out front. We've known for years Lyle Lovett has to
be the man he is and not the man we want. This record shows he is that and more.
Clive Carroll, "Life in Colour," P3 Music, 2009
"Life in Colour," the third album in acoustic guitarist Clive Carroll's catalogue, reveals a fundamental mastery
of the instrument that underlies an open-ended curiosity. From the sassy Les Paul-on-a-Tele twists of "Doodup"
to the very English take on classical guitar on two John Dowland compositions, Carroll takes the listener on a
diverse and worthwhile ride. The CD contains nine Carroll compositions in a program that mostly features acoustic
guitar accompanied on some tunes by a bit of light percussion. A Willie Brown tune, "Mississippi Blues," first
recorded for a 1929 Library of Congress session, comes to life all duded up in Carroll's cover. I suspect Brown, a
Robert Johnson sideman, would have been proud. "Oregon" boasts lush melodic configurations and chordal flights
supporting an upper register that recalls an acoustic John McLaughlin. By the time you get through the rollicking
"Shiny Wooden Toy," you conclude this guy can kick some ass -- and you've still got seven songs to go!
"Delhi Fratelli" proves Carroll is freak-out-Bela Fleck good on banjo. And the two short Dowland pieces,
"Preludium" and "The Right Honorable Robert, Earl of Essex, His Galliard," comprise a sublime close to the album.
A disciple of John Renbourn and Tommy Emmanuel, both of whom who have advanced his career, Carroll gets one big
sound out of a rosewood and spruce box. At the age of 35, this artist is in full stride and you can expect more
good things to come.
Eric Bibb, "Booker's Guitar," Telarc, 2009
One evening after a show, a photographer approached Bibb and said he had Bukka White’s guitar. He then offered to
meet Bibb and photograph him with the instrument. As Bibb tells it, the experience took his "personal connection to
traditional country blues to another level." He also took it as a sign to go ahead and do a project he’d wanted to
do for years, a tribute to "the music and musicians of a bygone era." "Booker’s Guitar" is the result. Bibb’s guitar
work is understated in the most wonderful way, at times hypnotic, always melodic and in service of the song. With
tracks like "With My Maker I am One," "Walkin’ Blues Again," and "Sunrise Blues," Bibb lays down bluesy riffs that
drive the narratives throughout, shifting the motifs in subtle, musical ways. There are a handful of straight up
12-bar blues, as well as more singer/songwriter fare. The haunting "Flood Water," on which Bibb is accompanied by
harmonica great Grant Dermody, is a great story song, where Bibb imagines himself witness to the great Mississippi
flood of 1926-1927, a subject of many blues songs sung by Bessie Smith, Charlie Patton and the like. There is also
Bibb’s mournful rendition of the traditional "Wayfaring Stranger," Dermody’s harmonica moaning and wailing all
the while. One of the most interesting tracks is the instrumental "Train from Aberdeen." Aberdeen Mississippi
was Bukka White’s hometown. Bibb plays a 9-string guitar on the track. It’s a beautiful melody and a departure
from the rest of the material on the album. Somehow it fits. "Booker’s Guitar" is a cohesive and moody album,
great for late night listening, and perhaps one of Bibb’s best.
Ellis Paul, "The Day After Everything Changed," Black Wolf 2010
Fans contributed $100,000 toward this album. So, it's got to sound grand and match their generosity. It does both,
clocking in at an hour, fifteen finely crafted tales of characters facing their day after everything changed. Paul
performs almost flawlessly, a musical biathlete with cross-country hooks (that sometimes overreach) and a precision
arsenal of telling details. "Annalee" opens big. Everything changes dockside for a youth when a lovely girl dives
in "in nothing but skin." The arrangement builds from quiet vocals to a wall-of-sound, hum-able chorus worth
repeating. Other songs follow that pattern, like "The Lights of Vegas," one of five co-written with Sugarland's
Kristian Bush. A couple gambles on the shining city of lights for recovering "the love... left behind." The
Beatlesque "Heaven's Wherever You Are" uses riverboat piano, whistling, and four insistent beats per measure
to beat the blues for someone needing "something to live for out on this long winding road." "Rose Tattoo" is
vintage acoustic Paul. The vocals hush in front of Paul's overdubbed hammer-ons and two-fingered slides. A
father drives home with bad news and "one good wiper." He would be lost without his wife who vows they'll
"fight for the best case scenario" then puts "Van Morrison on the stereo." Pure poetry about making it through!
A Katrina victim waits for his "Hurricane Angel" while "a man in India" wonders "where the money went" and
another "in Delaware" says he "can't have the pills" he needs because he can't pay. Pure poetry about not
making it through! Paul's six string flits around like the "Dragonfly" (co-written with Sam Baker) that
brings the image of a woman's "red dress... hanging from the moon." Paul re-envisions "Walking after Midnight"
with a new melody and new resilience, then conflates it with Baker's affecting "Change." Paul's shooting for
the moon messing with Patsy but, as with the entire CD, the payoff is large. Ellis Paul scored a 90% discount
with his first studio album in five years. It sounds like a million bucks.
Mats Bergström, "Francisco Tarrega, Guitar Music," Naxos, 2009
In 1994 the classical label Naxos began an ambitious project in which the goal was to record the complete works of
all major nineteenth and twentieth century guitar composers. Sixteen years, and seventy recordings later, they are
still committed to this venerable goal. Naxos recently released the first disc dedicated entirely to the works of
Francisco Tárrega. The music is masterfully performed by Swedish guitarist Mats Bergström, who, to further the
authenticity of his interpretations, used a replica of the guitar Tárrega himself performed on. The disc opens
with a selection of sixteen preludes which, while brief, embody the charming melodic romanticism for which Tárrega
has become so well known. This is as much a pleasure to listen to as it is a useful resource for those learning
the classical guitar. The preludes are for the most part intermediate level pieces, and Bergström's thoughtful
interpretations are sure to inspire many entrepreneuring guitar students. The disc moves on to Tárrega's more
challenging works, including Capricho Arabe and perhaps his best known composition, Recuerdos de la Alhambra.
Here too Bergström thoughtfully shapes Tárrega's lyrical phrases while maintaining astounding technical control.
As is the case with many well-known Romantic era composers, Tárrega's works were daring and revolutionary when
composed, and their beauty is as moving today they were over a century ago.
Tierra Negra & Muriel Anderson, "New World Flamenco," 2009
"Muriel Anderson and Tierra Negra (Raughi Ebery & Leo Henrichs) met in a castle in
Germany at the Gitarrentage Festival in Nürnberg. Before long they were jamming
together and realized something was happening." Thus begins the liner notes to "New
World Flamenco," the new CD (the "thing" which happened) from Tierra Nerga and
Muriel Anderson. I read those lines as the first notes of the opening track "White
Horses" crested over me in a sonic wave of mystery, eloquence and passion not unlike
the Spanish duende. Many of the rhythms recorded here have a power that attracts the
listener with certain magnetism and emotion that is spontaneous yet structured, refined
yet raw. They exude the sparkle of a performance, like a collection of first takes.
The flamenco guitars of Ebert and Henrichs and the classical and harp guitars of
Anderson weave a musical tapestry that nourishes the soul and exudes musical magic.
For a trio formed in a castle, one would expect nothing less. Each listen reveals to me
more than a collaboration of three fine musicians; There is a palpable espirit de corps
that is indelibly imprinted on each track as well as an integrity of performance and
execution that vibrates within the notes of "New World Flamenco."
Henrichs’ rousing "White Horses" is certainly a highlight as is Anderson’s "Fantasia De
Fuego", which has such depth and breadth that each guitar’s personality seems to be at
once separate and interwoven with the Flamenco dancing of Sabina Amadia. The fifteen
original compositions that inhabit this CD include an emotional landscape that is
evocative ("See You In The Bar"), intense ("L'Air Du Camargue"), soothing ("Midnight
Solo") and often sublime ("En El Bosque De Cristal").
Bravissimo!
Philippe Fouquet, "Turning Point," Harp Guitar Music2009
C’est belle, c’est magnifique, cette musique. Enchanting, delightful, rich in texture and color, the steel
stringed melodies of Philippe Fouquet on his debut release for Harp Guitar Music, "Turning Point," captivate
the listener with their sheer musicality. In a departure from previous recordings, Fouquet delves headlong into
open tunings on "Turning Point." Eight of the 13 tracks are played on his unusual Lukas Brunner harp guitar,
where the harp neck is longer scaled and fretless, allowing Fouquet access to deep, resonant registers to anchor
his soulful tunes. He makes fine use of them, while allowing the mids and trebles to weave the melody. "Life Will
Give You" - as every song on this collection - is a gem of flowing musical ideas. The heat rises a bit on "Run,"
with a pulsating bass thumping along the route, alternating between major and minor gymnastics across the fretboard;
it’s a real digit workout. Fouquet shows equal aplomb when only using six strings (a fine Kathy Wingert guitar),
adding unexpected turns in color and chords, as on "La Pluie du Voyage," where a well-placed slap gets our
attention. Like most good music, we can sense the development of Fouquet’s themes and ideas as the song
progresses, enveloping the listener in his aural meditation. The title cut, "Turning Point," is a melancholic
chestnut, brimming with douleur and angst, yet never losing its subtle beauty. There are brief, scattered
allusions throughout the CD to the amazing Pierre Bensusan and his complex musical ideas. Whether intentional
or not, it’s a fitting homage to a fellow Frenchman and fingerstyle pioneer. "Sky Rivers" bounces between
droning bass and ascending and descending chords, rising in tension, only to resolve in gentle harmony.
Fouquet concludes the CD with "Sensible," and with his skillful hands, indeed it is. A fine CD, and another
great recording from Gregg Miner and the folks at Harp Guitar Music.
Ewan Dobson, CandyRat Records 2009
Ewan Dobson’s a beast -- he’s won first prize in practically every classical guitar competition in his native
Canada. This virtuoso can flat-out play -- check him out on YouTube shredding Paganini ... with a flatpick, no
less. Dobson started his relationship with guitar in the realm of rock and heavy metal before classical training
under Dr. Alvin Tung. Add into that mix Dobson’s intensity, quirky sense of humor, relative youth and apparent
burning creativity, and the result this debut CD -- a 19-track eponymous collection that includes 17 original
pieces. His expanded repertoire includes bluegrass, metal, Canadian folk, techno, video game and contemporary
fingerstyle. Technically, Dobson dazzles; he has an almost hypnotic adherence to meter and a heavy focus on
repetition. Much of this collection would be right at home as a soundtrack to a variety of video games.
Perhaps Dobson’s working toward carving out that particular niche for himself, which would be an upgrade
for gamers everywhere. Consequently, there’s more than a little manic obsessiveness and angst going on here.
One thinks of an edgy Bach all amped up on speed. Song titles give a bit of a hint of the motion contained
therein: "I Know Your Pain," "Dancing With Her," "Happy Hardcore," "Jig of the Burning Heart," "Eurodance," "Blood and
Ice," "Jig of the Turnips." The overall effect is like the answer to the question: If Super Mario and Sonic the
Hedgehog went to a techno dance club, what would make them one with the music? I must say that I’m quite
curious to see what Dobson comes up with next.
Will Kimbrough, "Wings," 2009
Start listening to this disc at the last track, "A Couple Hundred Miracles." Featuring a simple finger picked
acoustic guitar, cello and honest vocals, it was inspired by reading Tich Nhat Han and glows with positive energy:
"Every step's a miracle / Every breath's a gift." Most of his songs are like that -- genuine but not sticky sweet.
He's worked with songwriting royalty like Roseanne Cash, John Prine, and Guy Clark. He's toured with Rodney Crowell,
written with Todd Snider and his songs have been recorded by Little Feat and Jack Ingram. Not only does he know his
way around songwriting, he's an award winning guitarist who also plays harmonica, banjo and mandolin. "Three Angels"
is a sweet song about his guardian angels. There's a great old school soul/rock vibe on "Open to Love," complete
with groovy organ, horn section and soulful back-up singers. He was listening to a lot of JJ Cale when he wrote
"It Ain't Cool" and it shows. "You Can't Go Home" takes some unexpected melodic turns and features a mournful
banjo. He wrote "Wings" with Jimmy Buffet; he calls it his "nondenominational motivational anthem." Damn this
guy's good. Upload this one to your iPod. I guarantee you'll find something new to appreciate it every time you
listen.
©
Patrick Ragains
Tommy Emmanuel's Website | Frank Vignola's Website
Listen to "How High the Moon" (mp3)
©
David Kleiner
Buy it at Amazon.com
Listen to "Bohemia" (mp3)
©
Steve Klingaman
Clive Carroll's Website Buy it at Amazon.com
Listen to "Eliza's Eyes" (mp3)
Listen to Clive Carroll at our podcast 
©
Chip O'Brien
Eric Bibb's Website Buy it at Amazon.com
Listen to "Sunrise Blues" (mp3)
©
David Kleiner
Buy it at Amazon.com
Listen to "Annalee" (mp3)
©
Timothy Smith
Buy it at Amazon.com
Listen to "Recuerdos de la Alhambra" (mp3)
©
James Filkins
Muriel Anderson's Website | Tierra Negra's Website
Listen to "Cloud Cover"
©
Kirk Albnrecht
Buy it at Amazon.com
Listen to "Primerose"
Listen to Philippe Fouquet at our podcast
©
Fred Kraus
Buy it at Amazon.com
Listen to "Orange"
©
Jamie Anderson
Buy it here
Listen to "Three Angels"
 (Click on image below to buy) |
 Note for Note Transcribed Solos from Tommy's album "Only" |
 DVD: The Techniques and Arrangements of Muriel Anderson |
 DVD: Best of Lyle Lovett Live |