May/June, 2007
Don Ross, "Live in Your Head," Goby Fish Music GFM 20062, 2006
For most performers, playing lives offers opportunities for expanding your compositions with new ideas as the
creative process finds inspiration in the music itself. It's why no good jazz is too structured, too programmed.
Canadian guitarist Don Ross knows that vibe all too well, and his CD "Live in Your Head" brings his creative powers
to full force, showcases his mastery of the six-string, and allows for greater freedom in exploring his music.
The disc represents 3 performances between 2001-2006 - some solo, and others with a three or four-part backing
band. The recording quality of the shows -- often a weakness when trying to capture live music -- is excellent.
Perhaps no better single cut reflects Ross' ability to get inside and around the music than his extended 12-minue
rendition of "Wall of Glass." Here, Ross intersects and cross-pollinates with his band, allowing musical seeds
to germinate then flower as each takes a turn at playing with the melody. The result is just wonderful music.
Ross is the touchstone for each musician, and saxophonist Colleen Allen particularly grooves in her solo.
Several other pieces come in much longer than their studio versions due to following the trail of the tune,
like the Latin-flavored "With You in Mind". The bass, percussion, and guitar trio on "Jesse Helms Night in
Havana," is almost organic in its interplay. The sanguine "Catherine" reveals Ross' understanding of feel,
fingerpicking the gentle melody with accents of tapping only when the song needs them. There are 13 tunes in
all. The CD concludes with "Thin Air," a song which allows the listener -- if they haven't heard Don Ross
before -- to hear his signature sound, slapping and tapping and picking with a driving bass line, just man and
steel and wood, but more music than one listen can take in. For Don Ross fans, this CD is essential listening
as it captures his at his very best musically.
Iliana Matos, "Angels in the Street," GSP Recordings 1030 CD, 2006
It's been 80 years since Heitor Villa-Lobos rejuvenated classical guitar music with his compositions, breathing
a rhythm and gravitas never heard before his time. Composer Eduardo Martin, perhaps best known from the LAGQ's rendering
of "Hasta Alicia Baila" and "La Trampa," proves not only his stewardship for Villa-Lobos' spirit, but for also
truly drawing it into the 21st century with writing "Angels in the Street." The only limiting factor for a piece
such as "Angels?" -- to find a performer who possesses the virtuosity able to handle the technical act of precisely
lifting the notes from daunting page to fretboard, and to do it with a panache and sensitivity which disguises the
difficulty as only subliminal. Such an artist is Iliana Matos. Matos has a long history of concert awards including
first prizes in the Vila de L'Olleria, Ciudad de Vélez-Málaga, S.A.R. La Infanta Doña Cristina, and Manuel M. Ponce
International Guitar Competitions. And though Matos is a dark horse, it's impossible while listening to "Angels"
to believe that her name will not someday ring the same peal of recognition as does Bream and Williams. "Preludio"
begins with the same slumbering but expectant legato lines of Villa-Lobos' Prelude No. 4 in E minor, and also like
that piece explodes into surprising glissades of arpeggiations. "Anunciacion" (from Martin's "En Cinco Lineas") has
the floating and ethereal quality of a Ralph Towner composition. Not surprisingly, since both composer and
performer are Cuban, Latin influences are prominent on some pieces ("Inevitable," "Son," "Son de Barrio," De La
Rumba Son") and will reward fans of Egberto Gismonti. GSP Recordings seems to have a talent for ferreting out
bright new classical guitar talent, and they've succeeded once more by making this collaboration between Eduardo
Martin and Iliana Matos possible and accessible.
Iliana Matos' Website Buy it at Amazon.com
Devon Sproule, "Keep Your Silver Shined," City Salvage/Waterbug Records CSR16-WBG75, 2007
On your first listen to "Keep Your Silver Shined," concentrate on the musical settings for Devon Sproule's warm,
perceptive words. With tunes owing as much to Tin Pan Alley as they do to the folk and bluegrass of her home in
the Blue Ridge, think of Sproule as a "Rain Dogs" era Tom Waits if he were a happy newlywed. (Check the accordion
and thumb piano she's cooked up with producer Jeff Romano for the tango-ish "1340 Chesapeake St.") Sproule can sing
like an angel, but prefers to keep this affair a little rough, as proclaimed by Randall Phar's slap happy bass and
the banjo chunking that open the record. While Morwenna Lasko's fiddle keeps things swinging, "Old Virginia Block"
traces the speaker's steps on a long Blue Ridge walk that ends at home. Try not to tap a toe. The title track
follows, with Charlie Bell's pedal steel washing over loveliness depicting young folks facing the comfort and
apprehension of settling into a life that could last a lifetime ("…the best of us changed. The rest of us stuck
behind to keep the silver shined"). "Let's Go Out" demonstrates Sproule's uncanny matching of lyrics and music.
In homage to old time swing, she sings "though the jokes you told were splendid, the serenade had ended by January.
When you wooed me in June, it was by a different tune. In spring came the ring…" The highlight of the CD is
"Dress Sharp, Play Well, Be Modest." Notice how genially Sproule's vocals build and how affecting they are when
they reach their crescendo. This album is about home and joy -- rare commodities on record these days. Sproule
succeeds by letting the arrangements support the telling details of her observant poetry. I was once a newlywed
in a house that "felt like the center of the world." "Stop By Anytime" and you might find a blaze in the woodstove
and a record on the turntable that will always evoke those days for me. "Keep Your Silver Shined" does the same for
a new generation looking down the long road ahead.
Jerry Douglas, "Best of the Sugar Hill Years," Sugar Hill SUG-CD-4026, 2006
Sugar Hill draws from five CDs for this tribute to the
dobro wizardry of Jerry Douglas. Though based in
bluegrass, Douglas stretches and pulls that genre into
new universes. About half of the tracks on this
compilation are Douglas' own compositions, and which
joyously display the versatility of the resonator
guitar. Instrumental tracks such as "The Wild Rumpus,"
"Takarasaka," "Senia's Lament" and "We Hide and Seek"
feature Dougles' seamless interplay with his fellow
musicians and provide a virtual soundtrack to
Americana. It's Aaron Copland for the 21st century
modern common man. Douglas evocatively haunts "Lullaby
of the Leaves" on his Weissenborn guitar behind Peter
Rowan's vocals (one of three non-all-instrumental
tracks). Other luminaries making appearances include
Tim O'Brien, Bela Fleck and Sam Bush, and the
musianship and production is squeaky clean throughout.
Douglas shows his bravado by ably taking on fusion
("Cave Bop"), rock ("Hey Joe" -- amazing what he does
with that dobro, but some things are best left
unbluegrassified), jazz (Weather Report's "Birdland"),
Texas swing, and, of course, plenty of bluegrass,
complete with fiddle, banjo and mandolin. Yet despite
all of this flash and dance, Douglas shines best when
his simply places his instrument at the forefront, and
trusts it to work its distinctive, soulful magic, as
with "A Tribute to Peador O'Donnell" and with "In the
Sweet By and By." Those tracks, to me, define and
illustrate the special purity of what Douglas brings
to the musical table. A much in demand musical
sideman, Douglas has garnered his share of awards,
including Best Bluegrass Album for "The Great Dobro
Sessions." Still, while Douglas' skill is well
displayed on "Best of the Sugar Hill Years," the
disparity is such that the effect created is
ultimately more that of promo than showcase.
Abby Ahmad, "The Rearview," Little Whisper Records, 2007
As Sir Bono opined a generation ago, all it takes is "three chords, a red guitar and the truth." Though her acoustic
six-string appears to be natural wood finish, twenty-four year old urban folk diva Abby Ahmad comes roaring in like a
reality freight train on her impressive debut long player (she has two EPs to her credit). Wistful, literal, and
occasionally confrontational and cathartic, the young Ms. Ahmad emerges as an authoritative singer, songwriter,
and an accomplished guitarist. Akin to her more veteran contemporaries such as Ani DiFranco, Mary Lou Lord, Tori
Amos and Tracy Chapman, Ahmad does not require a traditional backing band nor ornate arrangements to grab your
attention - though she does employ a moody rhythm section on a few cuts, plus atmospheric / minimalist cello,
banjo, dobro, violin, piano, and Hammond B-3 accompaniment on others. Fingerpicking, strumming, and riffing
with impressive dexterity and harmonic expertise, Ahmad's guitar wizardry incorporates a myriad of influences
ranging from traditional folk and country to blues and R&B. Ahmad's vocal delivery, which morphs from angelic
to a down-and-dirty Delta blues rasp, cuts through her often hectic rhythms and tempos throughout every track.
When a forceful lyric demands emphasis: "So the big bang / in the center of the sky /i gnites a light / in the pit of
your mind's eye" in the stirring opener "Big Bang," Ahmad leaps on top of the beat with a rapid-fire release
that commands notice. On the dirge "Seven Year Itch" she simmers beneath Matt Zeiner's gothic keyboards and the
mournful, lethargic fretless bass of Chris Anderson. If you had to choose a single it would probably come down
to the brisk, overtly melodic "Solo Act," an up-tempo cut that recasts a patented Willie Dixon riff in a fresh
new light. For the pure-bred shredders out there, make sure to check out the instrumental "The River Song"
wherein Ahmad's blazing technique catches fire on the always challenging 12 string. A talent this promising
cannot go unnoticed by the mainstream for long. Ahmad needs that one big song to take her career to the next
commercial level.
Abby Ahmad's Website Buy it at Amazon.com
Hands on Strings, "Offroad," Ozella Music OZ012CO, 2006
Jazz has always been considered to be as American as apple pie... until now.
That assumption is eroding to a tide of global culture washing over the
national culture, and vice-versa. Just as Nissan and Honda automobiles are being
manufactured in America, there is some incredible jazz being created in Europe, highlighting
that music rightly has no boundaries or ownership. Case in point: "Hands on Strings," the
moniker for Stephan Bormann and Thomas Fellow, a German acoustic guitar duo who simmer every
bit as did memorable past duo projects like Larry Coryell & Philip Catherine and Ralph Towner
& John Abercrombie. "Offroad," the opening and title track, is impossibly difficult to distinguish
from Pat Metheny's music -- present not only is Metheny's trademark tone but also his virtuosity and
chameleonic modulations of rhythm and chords. "Midnight Train" posits an insistent Methenyesque strum
against an understated spiritual anthem -- one hears yearning versus melancholy, aspiration versus
contentment... yin and yang coexisting. Influence from another European duo, Biréli Lagrène & Sylvain
Luc, is palpable on "Loro," Piazzolo's "Libertango," Luiz Bonfa's "Manha de Carneval" and "Feria," all on
which Bormann and Fellow do a cadenced mind-meld in a universe where the rest of us are challenged even
to tap our feet. "Hands on Strings" bids you a welcome to the world of very amazing jazz,
thankfully no longer limited to one shore.
Stephan Bormann's Website | Thomas Fellow's Website Buy it at Amazon.com or in Europe at Ozella Music
Doug Cox & Salil Bhatt, "Slide to Freedom," Northern Blues Music NBM0039, 2007
Canadian dobro player Doug Cox, Indian musician and satvik veena player Salil Bhatt, and tabla player Ramkumar
Mishra have found common ground between the music of the Mississippi Delta and the traditional music of India on
the superbly produced "Slide to Freedom." Drawing on their respective traditions, the musicians explore such
classics as Mississippi John Hurt's "Pay Day" and Blind Willie Johson's "Soul of a Man." They also offer
collaborative compositions, such as the wistful and e pic instrumental "Bhoopali Dance," the meditative "Arabian
Night," and the melodically and rhythmically inventive "Fish Pond." The music is for the most part laid back but
at times dissonant and intense. Cox, Bhatt, and Mishra are joined on two tracks, "Soul of a Man" and "Father
Kirwani," by the legendary musician V.M. Bhatt, creator of the mohan veena, a modified Indianized guitar-like
instrument, and also the father of Salil Bhatt. The results are electric. The overall spirit of the album is
both gracious and playful. "Slide to Freedom" is a must have for the listener who yearns for both novel sounds
and true improvisatory collaboration in his music.
Doug Cox's Website Buy it at Amazon.com
John Starling & Carolina Star, "Slidin' Home," Rebel Records REB-CD-1820, 2007
What makes this a fine set of acoustic music, happens where the pick meets the strings, at the attack. But I
hesitate to use attack to describe the playing on "Slidin' Home." It's more like these guys massage sound out
of the strings. A case in point is Starling's restrained yet effective version of Lowell George's much covered
"Willin.'" The first notes are harmonics where, by definition, the strings are barely touched. And the touch
stays light throughout. Mike Auldridge's lap steel solo is breathtaking. It starts out in the bass in a nod
to the typical guitar fills of truckin' songs then moves, with a few stops along the way for some sustain, to
a delicate melody up the fretboard. Starling's vocals here demonstrate how he works wonders despite the limits
of his voice. When he murmurs "get burnt by the sun every time I go" listen to the way he says "time." Sure
makes it sound like this guy's been across some borderlines in his time. He's willin' cause he's so easy going.
You have to give him a sign or he won't move a muscle. But he does have a thing for Alice. Very nice. Song
selection on the CD is tastefully all over the country side of the map. The opener's a tasty version of Jimmie
Rogers' "Waiting for a Train." Auldridge's resophonic guitar introduction builds a cathedral setting for
"In My Hour of Darkness," written by Gram Parsons and Emmy Lou Harris. Jon Randall contributes a sweet
six-string solo. You'll know that hope in the darkest hour is possible when you hear Emmy Lou herself join
in on harmony vocals. There's a Gillian Welch tune and a Ricky Skagg instrumental. At ten songs clocking in
at 33 minutes, the album's too short, for all of the usual reasons, but for as long as it lasts,
"Slidin' Home" is as easy on the ears as the pickers are on the strings.
John Starling & Carolina Star's Website
Frank Morey, "Made in USA", 2006
Frank Morey takes us for another ride into his
entertainingly haunted, bourbon-soaked world on his
fourth disc, "Made in USA." The philosopher/poet and
singer/songwriter continues his focus on the wretched
scrapheap of humanity, a colorful parade of society's
lowest common denominators. Morey doesn't look down
upon his fascinating characters; rather, he celebrates
their (and his own) struggles to find their way in a
world filled with distractions and ambiguities. As an
instrument, his voice can only be described as
Waits-ian, all gravelly, guttural and groaning. He
coaxes it to new plateaus of expression on the tender
"North Atlantic Line" (accompanied by the ethereally
voiced Eileen Rose). Similarly, the eerie "No Evil,"
which Morey says in his liner notes "might be one of
the best songs I've recorded," conveys a force and
power new to his work. On several tracks on "Made in
USA," Morey introduces a cacophony of horns that
evokes all manner of unsettling images (like freight
trains and elephants) as he revisits the blues from
all angles. Still, the more potent brews may be the
stripped-down ones: the wrenching title track, the
ironic "This Ol' Life (Seems to be Taking Forever)"
and the country based, eminently hummable "I Stopped
Believing in You Today." Morey's strides since his
second disc, "Cold in Hand," have been impressive,
interesting and unique. He's beginning to carve quite
a nice niche for himself in the realm of musical
Americana.
Frank Morey's Website Buy it at Amazon.com
©
Kirk Albrecht
Buy it at CandyRat Records
Listen to "Afraid to Dance" (mp3)
Listen to Don Ross at our podcast 
©
Alan Fark
Listen to "Anunciacion" (mp3)
©
David Kleiner
Buy it at Amazon.com
Listen to "Dress Sharp, Play Well, Be Modest" (mp3)
©
Fred Kraus
Buy it at Amazon.com
Listen to "Cave Bop" (mp3)
©
Tom Semioli
Listen to "Big Bang" (mp3)
Listen to Abby Ahmad at our podcast
©
Alan Fark
Listen to "Offroad" (mp3)
©
Chip O'Brien
Listen to "Pay Day" (mp3)
Listen to Doug Cox & Salil Bhatt at our podcast
©
David Kleiner
Listen to "Waitin' for a Train" (mp3)
©
Fred Kraus
Listen to "Made In USA" (mp3)
 (Click on image below to buy) |
 Villa-Lobos Solo Guitar (Paperback) |
 LAGQ: "Latin" |
 DVD: "Jerry Douglas' Dobro Techniques" |